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Michelle Browder’s “The Mothers of Gynecology” remembers Black women who endured surgeries without anesthesia, or consent.

Ce travail vise à montrer deux choses. La première, c’est de saisir toute l’importance du tournant postcolonial/afro-décolonial dans la construction d’une contre-épistémologie propre au sujet culturel colonisé africain. En d’autres termes, pour le sujet colonisé, cette contre-épistémologie sert à décoloniser les imaginaires, à partir d’un questionnement de la colonialité de l’épistémologie et du savoir donnés pour universels par l’occident. La deuxième chose, c’est que ̶ à quelques mois de la commémoration du centenaire de la naissance du prolixe et polygraphe auteur africain-colombien Manuel Zapata Olivella (1920-2004) ̶ cet article puisse le situer à sa juste place. Celle d’un sujet culturel colonisé africain des Amériques dont l’abondante production culturelle et la pensée, portées et révolutionnées par le concept de Muntu africain, participent de la décolonisation des imaginaires et de l’épistémologie

Toni Morrison purportedly began her career as a novelist because she noticed a dearth of books about black women. As a result of this limitation, Morrison desired to write books “for people like [her], which is to say black people, curious people, demanding people—people who can’t be faked, people who don’t need to be patronized.”¹ Similarly the writer, director, and filmmaker Coquie Hughes (born Latasha Iva Hughes in Chicago in 1970) has produced narratives that feature an array of queer black women—“Girls Like Us” as she calls them in her web series—who are curious, demanding, flawed, and

At the 2012 Golden Globe awards, during her acceptance speech for the Best Actress award for her performance in The Iron Lady (Phyllida Lloyd, 2012), Meryl Streep gave a shout-out to Adepero Oduye for her role as Alike in Dee Rees’s feature film Pariah (2011). The sentiment behind this esteemed acknowledgment was that brilliant performances in important independent films were overlooked and deserved recognition. Streep would go on to win the Best Actress Oscar for a her portrayal of Britain’s first woman prime minister, the a ultraconservative Margaret Thatcher.

Game Devs & Others: Tales from the Margins tell the true stories of life in the industry by people of color, LGBTQIA and other marginalized identities. This collection of essays give people a chance to tell their stories and to let others know what life on the other side of the screen is like when you’re not part of the supposed “majority”. Key Features This book is perfect for anyone interested in getting into the games industry who feels they have a marginalized identity For those who wish to better diversify their studio or workplace who may or may not have access to individuals that could or would share their stories about the industry Includes initiatives aimed at diversifying the industry that have a positive or negative impact on the ongoing discussions Coverage of ajor news items about diversity, conferences aimed at or having diversity at its core of content and mission are discussed Included essays are written with as little game dev specific jargon as possible, makeing it accessible to people outside the industry as well as those in the scene but that may not have all the insider lingo

The first time I spoke in public about my work was during the Los Angeles Lesbian and Gay Festival in 1990. Cheryl Dunye was the only other woman of color on the panel. When I asked a question regarding funding, I naïvely stated that funding was not a prob lem for me considering the fact that my work at that time was of medium to low production quality. I had minimal access to a low-end production facility, and my piece was only five minutes long. I was alluding to the fact that it has been “easy” for me.

Deeply grounded in the legacy of Black lesbian artists, writers, and filmmakers, current Black lesbian filmmakers are helping to build infrastructure for a transformed future using deeply interconnected methods to transform the whole world and (while we’re at it) the meaning of life. This chapter looks at two projects, the established and evolving Queer Women of Color Media Arts Project based in San Francisco and the emerging Queer Renaissance and Black Feminist Film School Project based in Durham, North Carolina, as examples of the robust future of Black lesbian filmmaking as a transformative community-building practice. The Queer Women of Color

Around 1994 or 1995 I came across a call for articles for an anthology to be published by the XII Black International Cinema , documenting ten years of the festival and associated activities, 1986– 95. The request asked for articles and film lists from an international and intercultural group of scholars and filmmakers, and I thought this was an opportunity to document the exciting and pioneering work that was being done by a community of emerging Black lesbian and gay film-and video makers at the time.

The interactive book is a term heard frequently in reference to early experiments in multimedia production. But how to translate the concept of the book into a medium that has no paper, no pages, remains a challenge. Is not a book an object one holds in one’s hands—the cover affected over time by the acids and oils perspiring from the user’s skin, pages turned down and yellowed, torn or marked up? Research could show that the notion of the traditional book has been challenged throughout history. But this challenge has been accelerated with the growing accessibility of new computer

Dans le contexte de l’héritage canadien de colonialisme et de profond racisme, les musées ont contribué à l’oppression des Noir.e.s, des communautés de couleur et des peuples autochtones en gardant le silence ou en supprimant certaines histoires sous prétexte d’« objectivité ». Cet article examine les pratiques commissariales de deux femmes noires canadiennes, Gaëtane Verna, directrice et conservatrice en chef de la galerie d’art contemporain The Power Plant, et Andrea Fatona, commissaire indépendante, afin de situer le commissariat critique à l’intérieur de perspectives afroféministes intersectionnelles. En conformité avec une base conceptuelle fondamentale de ce féminisme, je soutiens que ce qui rend l’acte commissarial « critique » est la reconnaissance non seulement de la position qu’une personne occupe dans la société, mais aussi de celles dont elle ne fait pas toujours l’expérience. En examinant les pratiques de ces deux femmes, je mets au jour une riche histoire de l’art et du commissariat des Noir.e.s au Canada.

Early in the following interview, Pamela Jennings explains to Yvonne Welbon that her work gradually expanded from an initial and abiding interest in street photography toward working with and through forms of computational media. Jennings equates her move toward what she describes as “computational-based creative expression” with her growing interest in multimedia throughout the early 1990s, and she uses the term multimedia as a way of marking her work in a variety of different media and her interest specifically in computational media because the formulation computational media was not available to her then. The compelling relationship Jennings narrates between her

In interviews the comedian Wanda Sykes describes being a successful black, openly gay woman in Hollywood as akin to being a unicorn. Clearly Sykes is majestic. Yet her joke hinges on a bitter truth: the mainstream media industry grants few women, not to mention lesbians of color, access to power. Despite shifts in the cultural imaginary around civil rights, Hollywood continues to maintain an embarrassing lack of diversity in its labor force, especially at decision-making levels. To battle this long-standing reputation, studios have developed diversity-hiring programs.

Shari Frilot is a filmmaker and curator whose creative practice has been driven by sustained explorations of sexuality, technology, desire, cosmic and subatomic structures, mixed-raced identity, and chaos. She has often expressed her modus operandi in the following terms: “It’s impossible to see a cloud when you’re in the middle of it. You have to move outside of the cloud to really get a sense of it.” By continually shifting between the outside and inside of a given framework—whether institutional or personal—Frilot has developed keen modes of challenging conventional structures for understanding and engaging the moving image.

It is the twenty-first century, and there is a black lesbian director and producer making pornography! Porn, a genre of film and media that in the last quarter of the twentieth century many black feminist lesbians viewed as capable only of representing and manifesting violence, abuse, and shame. In this essay I examine one of the early works of the black lesbian filmmaker Shine Louise Houston, In Search of the Wild Kingdom (2007), to explore how and why we have arrived at what is a transition from Blues Legacies and Black Feminisms to Pink and White Productions, and from New

I grew up on the West Side of Chicago, where it was infested with gangs and drugs and violence. But I was always the type of person that wanted to be better than my environment, and I was also the type of person that didn’t want people to underestimate me because of where I came from. And so I made up in my mind, even as a young child, that I wanted to be somebody. I love making movies. I’ve wanted to be who I am ever since I saw Sidney Lumet’s movie The Wiz (1978).

In 2005 Angela Robinson released her spy spoof, D.E.B.S. (2004). Robinson first realized the project as the short film D.E.B.S. (2003) through a training program with POWER UP (Professional Organization of Women in Entertainment Reaching Up), the only 501(c)(3) nonprofit film production company and educational organization for women and the GLBTQ community. In 2005 she also became the second black woman and first black lesbian to direct a studio feature, the Disney film Herbie Fully Loaded starring Lindsay Lohan. This moment marked the beginning of the black lesbian media maker hyphenate as Angela Robinson moved to television and began working on The L Word as a writer, director, and eventually producer. Patricia White's essay in this section, "'Invite Me In!': Angela Robinson at the Hollywood Threshold," offers an in-depth exploration of her career trajectory.

The Mammy has been in our field of vision as a popular icon representing black womanhood for more than a century in literature, film, and television and in consumer and material culture.¹ Described as an asexual, rotund slave of older age whose sole responsibility is to take care of her master’s children, Mammy is a beloved character who represents all that is nurturing and maternal. She is dark-skinned and boisterous and thought to have mannish features such as large feet and hands. Mammy wears a large skirt, hiding her sex, and covers her nappy hair with a bandanna or handkerchief.

Rapport commandé par le Conseil des arts de Montréal

Allyson Nadia Field recovers the forgotten body of African American filmmaking from the 1910s which she calls uplift cinema. These films were part of the racial uplift project, which emphasized education, respectability, and self-sufficiency, and weren't only responses to racist representations of African Americans in other films.

Written by one of the foremost scholars of African art and featuring more than 125 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960.