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Knopf samples a variety of Native American filmmaking genres, including documentary, short films, and full-length narrative films, providing a detailed synopsis and content analysis of several films. Since its genesis in the early 19005, film has been an effective colonizing tool, impacting Indigenous peoples around the globe.

Kara Keeling contends that cinema and cinematic processes had a profound significance for twentieth-century anticapitalist Black Liberation movements based in the United States. Drawing on Gilles Deleuze’s notion of “the cinematic”—not just as a phenomenon confined to moving-image media such as film and television but as a set of processes involved in the production and reproduction of social reality itself —Keeling describes how the cinematic structures racism, homophobia, and misogyny, and, in the process, denies viewers access to certain images and ways of knowing. She theorizes the black femme as a figure who, even when not explicitly represented within hegemonic cinematic formulations of raced and gendered subjectivities, nonetheless haunts those representations, threatening to disrupt them by making alternative social arrangements visible.

The history of gay and lesbian cinema is a storied one, and became that much larger with the recent success of Brokeback Mountain. But the history of gay and lesbian filmmakers is its own story. In The View From Here, queer directors and screenwriters speak passionately about the medium, in particular their personal experiences navi-gating the often cynical and cruel film industry. All of them offer fascinating anecdotes and ideas about cinema, and speak candidly about their attempts to combat studio apathy and demands of “the market” to create films that are entertaining, engaging, and truthful.

This study is an attempt to examine the ways in which popular culture can restructure the relationship between sexuality and power, through the case of Seoul Queer Films and Videos Festival, a cultural arena of newly emerged queer discourses in Korean society. In the past 10 years, queer discourses in Korea have undergone a rapid change. With heterosexual normativity being challenged and ‘queer’ being consumed as a cultural code, Korean spectators come to engage with a queer film festival in multilateral and sometimes contradictory contexts. This study will try to pose a controversial question to the heterosexual society by reading the complex interactions between film festivals, films and spectators while paying attention to the experiences of the participants in the Seoul Queer Films and Videos Festival and pointing at the political implications of queer films now in 2006. Through this, I try to look for possibilities of a queer cultural movement which rejects being co‐opted by the heterosexual society, constructs new ideas of social powers in relation with sexuality, and seeks alternative visions for such change in relations.

This dissertation is about gay and lesbian film festivals, the first of which was founded in San Francisco in 1977 and subsequently served as a model for their international proliferation over the next thirty years. While the films programmed in these festivals have received a great deal of attention from scholars and critics, the festival institution itself has received less consideration. This dissertation narrates the history of gay and lesbian film festivals through an economic lens, asking how fundraising practices have been deployed in the community building projects of festivals, how the administrative structures of festivals as nonprofit organizations have been leveraged by the state toward the management of new social movements, and how these nonprofits have participated in the identification and cultivation of populations as niche markets by the commercial sector. This historical schema will offer an alternative model for understanding queer image production, not through a textual analysis of those images, but through an examination of the material circumstances of their circulation and distribution. This dissertation is not simply about the ways that community organizations like film festivals have been strategically engaged by the state and the market in the management and exploitation of gays and lesbians, it argues that gays and lesbians themselves have articulated their politics, artistic practice, and discourse of community within (and against) the parameters defined by the demands of organizational sustainability. Furthermore, this dissertation will illustrate why taking economic activity seriously as a part of the material practices of queer image production answers crucial questions about the ways that sexuality operates as a category of governance. The history of gay and lesbian film festivals, and their regulation through the administrative structures of the nonprofit sector, is part of a much larger history of political struggle and the development of new social movements over the past three decades.

In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television.

A discussion of authorship, relating to the feminist study of the role of women in early cinema.

The rise of cinema as the predominant American entertainment around the turn of the last century coincided with the migration of hundreds of thousands of African Americans from the South to the urban "land of hope" in the North. This richly illustrated book, discussing many early films and illuminating black urban life in this period, is the first detailed look at the numerous early relationships between African Americans and cinema. It investigates African American migrations onto the screen, into the audience, and behind the camera, showing that African American urban populations and cinema shaped each other in powerful ways. Focusing on Black film culture in Chicago during the silent era, Migrating to the Movies begins with the earliest cinematic representations of African Americans and concludes with the silent films of Oscar Micheaux and other early "race films" made for Black audiences, discussing some of the extraordinary ways in which African Americans staked their claim in cinema's development as an art and a cultural institution.

Beyond Bollywood is the first comprehensive look at the emergence, development, and significance of contemporary South Asian diasporic cinema. From a feminist and queer perspective, Jigna Desai explores the hybrid cinema of the 'Brown Atlantic' through a close look at films in English from and about South Asian diasporas in the United States, Canada, and Britain, including such popular films as My Beautiful Laundrette, Fire, Monsoon Wedding, and Bend it Like Beckham.

The Velvet Light Trap 53 (2004) 26-39 On December 2, 2001, HBO began airing Project Greenlight, a twelve-part documentary series chronicling the production of a feature film by novice writer-director Pete Jones. With its spectacle of backroom dealings, unchecked egos, and human frailties, the television series capitalized on the contemporaneous success of like-minded "reality" programs such as Survivor and Temptation Island. Perhaps more closely, Project Greenlight also tapped into the current vogue for the "behind-the-scenes" and the "making-of" genres, represented by straight-to-video titles such as Star Trek-Deep Space Nine: Behind the Scenes (1993), Making of Jurassic Park (1995), and The Matrix Revisited (2001), television programs such as the Sundance Channel's Anatomy of a Scene, HBO's First Look, and MTV's Making the Video, and the proliferation of behind-the-scenes and making-of packaging on DVDs. A reflection of the growth of film-related ancillary products in the 1980s, the ever-expanding Hollywood ego, and the demands of a twenty-four-hour television cable market, the increased appearance of the making-of documentary format no doubt also reflects the renewed interest in amateur filmmaking promulgated by the age of desktop video. Perhaps as a manifestation of this interest, making-of documentaries have become increasingly more detailed in their coverage. Whereas the 1981 television special The Making of "Raiders of the Lost Ark" (Phillip Schuman) focuses mostly on the film's stunt work, special effects, location shoots, and set design, the recently released making-of documentary The Matrix Revisited focuses on script development, preproduction, production, postproduction, and exhibition, introducing viewers to costume designers, storyboard artists, and editors along the way. This attention to production detail can also be seen in Sundance's Anatomy of a Scene, which hones in on the construction, from music to costume to camera work, of a single scene. And certainly raising the bar on the level of detail included in the making-of genre is Project Greenlight, which is a "warts-and-all" look at film production, from squabbles over budgets to catering fiascos. Despite the making-of video's increased attention to the minutiae of filmmaking, one of the areas that remains outside the purview of most Hollywood making-of documentaries is the production of sex. Discussions about the cinematic logistics of creating a sex scene—how, when, and with what resources—are usually not featured in making-of documentaries. Of course, given our celebrity-driven culture, the question of sex vis-à-vis film production, particularly a Hollywood film production, is hardly absent from the publicity that surrounds a film. It is not uncommon to hear actresses or actors discussing what it was like to kiss another actor on the set. But these kinds of concerns are usually the province of entertainment magazines and television, not the province of ancillary related products such as the making-of video. While stories of roles requiring nudity or sex scenes abound on television shows such as Access Hollywood, Entertainment Tonight, and E! News Daily,these kinds of topics are less likely to appear in production-generated documentaries. Indeed, while the production of the provocative sex scene between Halle Berry and Billy Bob Thornton in Monster's Ball (Marc Forster, 2001) generated much discussion on television entertainment programs, talk shows, and newsmagazines, it was the film's prison execution sequence that was featured in the Sundance Channel's making-of special on the film. Given the lack of focus on sex scenes in most making-of documentaries, it is interesting to note that the two existing making-of documentaries for lesbian-made, lesbian-themed feature films—The Making of Bar Girls (1995) and Moments: The Making of Claire of the Moon (1992)—both heavily focus on the production of lesbian sex. Moreover, both lesbian making-of documentaries emphasize the cast's and the crew's sexual titillation over the creation of sexual sequences. In this essay I look at what this strategy reveals about the collective climate and concerns of lesbian feature filmmaking in the United States today.

The immediate aim of this chapter is to provide a critical overview of the place of lesbian films within New Queer Cinema. The task is not an easy one in a field which is as contentious as it is broad. The main difficulty seems to be how best to approach a range of definitions, from ‘new’ to ‘queer’ to ‘lesbian’, since with every one of them, we risk biting off more than we can chew. As often happens with formal titles, so with the New Queer Cinema, its lifespan (‘officially’ 1992-2000) now seems to have been a great deal shorter

In 1989, three years before the New Queer Wave was even invented or discovered, two very different yet interconnected films were produced on either side of the Atlantic. Both soon became critically successful and both would win a number of prizes at different international film festivals and venues. In retrospect, these two films have come to constitute the very incitement to the Wave. British filmmaker Isaac Julien’s Looking for Langston premiered in early 1989 and American filmmaker Marlon Riggs’s Tongues Untied premiered later that same year, the latter including a still photo from the former so as to pay homage

This essay examines the cultural specificity of the gangster genre. In hip-hop gangsta films, the inclusion of black women as central to the gangster business not only transforms the gangster genre but, more important, adheres to black cultural norms. The films New Jack City, Sugar Hill, and Set It Off serve as case studies.

Struggles for Representation examines over 300 non-fiction films by more than 150 African American film/videomakers and includes an extensive filmography, bibliography, and excerpts from interviews with film/videomakers. In eleven original essays, contributors explore the extraordinary scope of these aesthetic and social documents and chart a previously undiscovered territory: documentaries that examine the aesthetic, economic, historical, political, and social forces that shape the lives of black Americans, as seen from their perspectives.