Black Film British Cinema Ii Av Clive Nwonka, Anamik Saha

<b>The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period.</b><br><br><i>Black Film British Cinema II</i> considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of <i>Black Film British Cinema</i>, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms

The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period.Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice.This second iteration of Black Film British Cinema, markingover 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period.It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation.But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition?Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating atthe intersections of film studies, media and communications, sociology, politics and cultural studies.Througha diverse range of perspectives and theoretical interventions that offer acombination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understandingcontemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race.ContributorsBidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Ozlem Koksal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo,Richard T. Rodríguez,Tess S. Skadegård Thorsen, Natalie Wreyford