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02259nam a2200349 u 4500 |
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220823 r ||| eng |
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|a 9781474440684
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|a 1474440681
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|a PS3553.O47485
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|a PN1998.3.C6673
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|a Ramanathan, Geetha
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|a Kathleen Collins
|h Elektronische Ressource
|b the black essai
|c Geetha Ramanathan
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|a Edinburgh
|b Edinburgh University Press
|c [2020], 2020
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| 300 |
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|a 168 pages
|b color illustrations
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|a Includes bibliographical references (pages 152-160)
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|a Introduction -- 1. The New York black independents -- 2. The black essai film -- 3. Ambiguities of auteurship -- 4. The magical marvelous modern -- 5. Sacred doubles -- 6. Film across drama and art -- 7. Black feminist culture and black masculinity -- Afterword -- Bibliography -- Filmography -- Index
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|a Motion pictures / Production and direction
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|a African Americans in motion pictures
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| 653 |
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|a PERFORMING ARTS / Film & Video / Direction & Production
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|a eng
|2 ISO 639-2
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| 989 |
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|b ZDB-39-JOA
|a JSTOR Open Access Books
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|a Visionaries: thinking through female filmmakers
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| 776 |
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|z 9781474440684
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|z 9781474440707
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|z 1474440703
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| 856 |
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|u https://www.jstor.org/stable/10.3366/j.ctvx5w8k0
|x Verlag
|3 Volltext
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|a 791.430233092
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| 520 |
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|a A philosopher-filmmaker, Kathleen Collins decisively redefined the parameters of African American film with The Cruz Brothers and Miss Malloy (1980) and Losing Ground (1982). This book uses detailed analyses of Collins's films to contextualise her work in the African American, feminist and world film traditions, and it highlights her contribution to each of these canons. Exploring the philosophical aspects of Collins's films and placing her in a genealogy of African American auteurs, Geetha Ramanathan argues that Collins uses film to integrate diverse elements of African American culture, showing how the medium can transform the visual and become a site of convergence for ideas on philosophy, otherness, art, aesthetics and the craft of filmmaking
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