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Black Camera

Spring 2022

Please click the image to read Black Camera on Project MUSE.

Table of Contents

Call for Close-Up Submissions

- Still Got the News: Fifty Years Out on Finally Got the News

- A Wide Shot: Expanding the Frame on Melvin Van Peebles

Featured Interview

"That's the Difference, I Am Fully Engaged With Art": Renée Baker on the Practice of Scoring Silent Film and the Matter of "Race Movies"
- Michael T. Martin


Filming Social Death and the Fixed Position of Blackness: On L.A. Rebellion Director Julia Dash's Four Women
- Rachal Burton

Slavery and the Ambiguities of Diaspora in Haile Gerima's Sankofa
- Xavier Lee

Protesting on Screen: Black Protest Films in the Era of #BlackLivesMatter
- Jeanelle K. Hope

The Survival of Big-Screen Cinema in South Africa
- David Max Brown

Archiving Africa: Notes for the Contemporary African Filmmaker
- Paul Ugor

The Politics of Colonization in Ryan Coogler's Black Panther
- Felisa Vergara Reynolds

Vanishing Point: Chadwick Boseman's Body and the Still Image
- Ashley Hendricks

The Jew, the Arab, the Black: La Haine and the Structure of Anti-Black Violence
- Roy Cherian


Remembering the Past: A Conversation with Afolabi Adesanya as Film Exhibitor
- Añulika Agina

Close-Up: Contemporary Black Horror

- Katherine Tartaglia

Vanilla Nightmares and Urban Legends: The Racial Politics of Candyman (1992)
- Joan Hawkins

"There Existed an Addiction to Blood": Exhuming the Transtemporal Body
- Jasper Lauderdale

Get Out from the Horrors of Slavery
- Delphine Letort

The Work of Horror After Get Out
- Catherine Zimmer

Dossier: Spectacles of Anti-Black Violence and Contemporary Black Horror
- Lauren McLeod Cramer & Catherine Zimmer


Exploring African Women's Cinematic Practice as Womanist Work
- Beti Ellerson


Film Review: Dune (2021)
- Fabio Bego