Black Camera is devoted to the study and documentation of the black cinematic experience and is the only scholarly film journal of its kind in the United States. It regularly features essays and interviews that engage film in social as well as political distribution, and production of film in local, regional, national, and transnational settings and environments.

Table of Contents

Editor's Notes
Michael T. Martin
pp. 1-2

Still Got the News: Fifty Years Out on Finally Got the News
pp. 3-4
DOI: https://doi.org/10.2979/blackcamera.14.2.02

The Harder They Come: The Legacy Continues
pp. 5-6

Cinema Negro in Brazil: Disrupting the Visual and Discursive Foundations of Blackness in Branco sai, preto fica
Leslie L. Marsh
pp. 7-26
DOI: https://doi.org/10.2979/blackcamera.13.2.01

Cultivating a Community of Viewers in Africa: How Sissako Frames Spectatorship and Performance in His Films
Phyllis Taoua
pp. 27-52

Òrúnmìlà Epistemic Reproduction: Nigerian Film-Philosophy via Divinity and Orality
Saheed Adesumbo Bello
pp. 53-68
DOI: https://doi.org/10.2979/blackcamera.13.2.03

John Akomfrah's The Nine Muses: A Reading with Glissant's "Relation" and Quantum Entanglement
Kenneth W. Harrow
pp. 69-88
DOI: https://doi.org/10.2979/blackcamera.13.2.04

Kahlil Joseph, New Media, and the New Black Cinema: A Case for Situating Kahlil Joseph's Audiovisual Work Within the Theoretical Frameworks of African Film
Joseph Owen Jackson
pp. 89-114
DOI: https://doi.org/10.2979/blackcamera.13.2.05

Speaking Animals: Fables of Resistance in Get Out, Sorry to Bother You, and Atlanta
Caroline Hovanec, Sarah Juliet Lauro
pp. 115-138
DOI: https://doi.org/10.2979/blackcamera.13.2.06

Screaming with Laughter: How Jordan Peele's Get Out Rereads Obama by Rewriting the Black Messiah
Thai-Catherine Matthews
pp. 139-161

Too Hot for TV: Black Sketch Comedy and the Politics of Crossing-Over
Artel Great
pp. 162-177
DOI: https://doi.org/10.2979/blackcamera.13.2.08

Race as Special Effect: Michael Jackson, Captain EO, and the Borders of the Cosmos
Graham L. Eng-Wilmot
pp. 178-202
DOI: https://doi.org/10.2979/blackcamera.13.2.09

Introduction: BlacKkKlansman, "On the Right Side of History"?
Delphine Letort
pp. 203-206
DOI: https://doi.org/10.2979/blackcamera.13.2.10

Adapting BlacKkKlansman: "Based upon some fo' real, fo' real sh*t"
Delphine Letort
pp. 207-233

Not Just Talk: The Politics of Enunciation in BlacKkKlansman
Amelia Saunders
pp. 234-254
DOI: https://doi.org/10.2979/blackcamera.13.2.12

Twos and Threes: A Structural Analysis of BlacKkKlansman's Undercover Narrative
Joshua Sperling
pp. 255-281
DOI: https://doi.org/10.2979/blackcamera.13.2.13

BlacKkKlansman and the "Sheets of the Past": Toward a Theory of Blacklash Cinema
Jayson Baker
pp. 282-294

Introduction
Vincent Bouchard, Amadou Ouédraogo
pp. 295-300

Vieyra's Vision of Cinema on the Verge of Independences
Odile Goerg
pp. 301-320

René Vautier and Paulin S. Vieyra: Contact of Cinéastes engagés
Claire Fouchereaux
pp. 321-337
DOI: https://doi.org/10.2979/blackcamera.13.2.16

Rise of a Nation: An Exploration of Vieyra's Vision for Senegal Through Une nation est née
Timothy Lomeli
pp. 338-354
DOI: https://doi.org/10.2979/blackcamera.13.2.18

African Realities in Motion: The Role of Dance in Vieyra's Films in Constructing Intersubjective African Identities
Dana Vanderburgh
pp. 355-373
DOI: https://doi.org/10.2979/blackcamera.13.2.19

Motor, Mirror, Reinvention: Paulin Soumanou Vieyra on the African Cinema to Come (1956-1961)
Nikolaus Perneczky
pp. 374-395

Senegalese Wrestling as "National Sport" and Other Modern Myths in Lamb
Sílvio Marcus de Souza Correa
pp. 396-416
DOI: https://doi.org/10.2979/blackcamera.13.2.21

Paulin S. Vieyra's Iba N'Diaye: Seminal Modernists in Paint and Film
Joseph L. Underwood
pp. 417-433
DOI: https://doi.org/10.2979/blackcamera.13.2.22

Paulin Soumanou Vieyra: Imposing His Voice Within an Imposed Value System
Maria Loftus
pp. 434-450
DOI: https://doi.org/10.2979/blackcamera.13.2.23

Paulin Soumanou Vieyra, the Soviet Union, and Cold War Circuits for African Cinema, 1958-1978
Elena Razlogova
pp. 451-473
DOI: https://doi.org/10.2979/blackcamera.13.2.24

Paulin Soumanou Vieyra in the Documents of the Rediscovered Audiovisual Archive of the Senegalese Ministry of Culture
Marco Lena
pp. 474-488
DOI: https://doi.org/10.2979/blackcamera.13.2.26

Welcoming Paulin Vieyra's Papers to Indiana University's Black Film Center & Archive
Terri Francis
pp. 489-499
DOI: https://doi.org/10.2979/blackcamera.13.2.27

Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen by Samantha N. Sheppard (review)
Aja Witt
pp. 500-502

Film Review: La Negrada
Javier Ramirez
pp. 503-506
DOI: https://doi.org/10.2979/blackcamera.13.2.29

Professional Notes and Research Sources
pp. 507-513
DOI: https://doi.org/10.2979/blackcamera.11.1.0462