The Witch’s Flight · the Cinematic, the Black Femme, and the Image of Common Sense (Perverse Modernities) by Keeling, Kara -- Read -- Imperial Library of Trantor

Index

Title Page Copyright Page Contents Acknowledgments Introduction: Another Litany for Survival 1 The Image of Common Sense

Film and Money Antonio Gramsci and Common Sense Affectivity

2 In the Interval

“How Does it Feel to Be a Problem?” “I Wait for Me” Cinematic Machines and Representation

3 “In Order to Move Forward”

The LA Filmmakers, the Black Arts Movement, and Questions of Third Cinema A Colonized Sensorium Returning to the (Cinematic) Past The Black is a Black Man

4 “We’ll Just Have to Get Guns and Be Men”

Seize the Time The Whole World is Watching The End of Silence The Revolution Will (Not) Be Televised “My Name is Peaches”

5 “A Black Belt in Bar Stool”

Images of Value Blaxploitation and Common-Sense Black Nationalism Pam Grier’s Blaxploitation Films The Butch Problem “Someday We’ll…” Postscript on Pam Grier and the L Word

6 “What’s Up with That? She Don’t Talk?”

Black Butch Masculinity and Ghettocentric Common Sense Cleo’s Spectacular Death “What’s Up with That? She Don’t Talk?” the Black Femme Function “Prove it on Me”: Black Lesbian Butch-Femme Ursula and the Out-of-Field

7 Reflections on the Black Femme’s Role in the (Re)production of Cinematic Reality

The Cinematic Community of “Slaves” Eve’s Bayou

Notes

Introduction 1 The Image of Common Sense 2 In the Interval 3 Haile Gerima’s Sankofa 4 Black Revolutionary Women 5 Blaxploitation, Surplus, the L Word 6 Black Lesbian Butch-Femme 7 Reflections on Black Femme

Bibliography