For far too long, the cultural and historical narratives about film have overlooked the contributions of Black women directors. This book remedies this omission by highlighting the trajectory of the culturally significant work of Black women directors in the U.S., from the under-examined pioneers of the silent era to the contemporary Black women directors in Hollywood.

"Barbara Quart's knowledgeable survey chronicles the emergence of a New Cinema, where women directors in a dozen countries bring fresh language and sensitivity to the conventional themes of commercial feature movies." Back Stage "I'd like to see an American audience able to analyze both difficult films and commercial celluloid kitsch. . . .Viewers can teach themselves this skill with clear and readable books like Quart's." Women's Review of Books

An examination of the works of six contemporary black and Asian women filmmakers, including Zeinabue Irene Davis, Ngozi Onwurah, Julie Dash, Pratibha Parmar, Minh-ha and Mira Nair. It also includes a detailed introduction and a chapter entitled "Other Voices", documenting the work of other black and asian filmmakers.

Features the history and work of the most important women in the world of fictional narrative filmmaking--authoritative, historical, international.

In recent decades, historically white institutions have advanced their focus on diversity, equity, and inclusion practices within their organizations. Today, many organizations feature diversity practitioners within their workforce. Despite this, many historically white institutions such as education, business, and healthcare organizations still face systemic racism from within. In the wake of the dual pandemics of COVID-19 and systemic racism, it is essential for historically white institutions to listen to the experiences of Black women diversity practitioners so that they may implement the necessary changes to promote a more diverse, inclusive, and equitable environment. The Experiences of Black Women Diversity Practitioners in Historically White Institutions centers on Black women’s experiences before, during, and after the dual pandemics at historically white higher education, corporate America, and healthcare institutions and how these experiences have affected their ability to perform their jobs. The stories and research provided offer crucial information for institutions to look inward at the cultures and practices for their organizations that directly impact Black women diversity practitioners. Covering topics such as guidance in leadership, Black woman leadership, and mindfulness training, this premier reference source is an essential resource for higher education staff and administration, Black women diversity practitioners, administration, leaders in business, hospital administration, libraries, students and educators of higher education, researchers, and academicians.

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

When Lieutenant Uhura took her place on the bridge of the Starship Enterprise on Star Trek, the actress Nichelle Nichols went where no African American woman had ever gone before. Yet several decades passed before many other black women began playing significant roles in speculative (i.e., science fiction, fantasy, and horror) film and television—a troubling omission, given that these genres offer significant opportunities for reinventing social constructs such as race, gender, and class. Challenging cinema’s history of stereotyping or erasing black women on-screen, Where No Black Woman Has Gone Before showcases twenty-first-century examples that portray them as central figures of action and agency. Writing for fans as well as scholars, Diana Adesola Mafe looks at representations of black womanhood and girlhood in American and British speculative film and television, including 28 Days Later, AVP: Alien vs. Predator, Children of Men, Beasts of the Southern Wild, Firefly, and Doctor Who: Series 3. Each of these has a subversive black female character in its main cast, and Mafe draws on critical race, postcolonial, and gender theories to explore each film and show, placing the black female characters at the center of the analysis and demonstrating their agency. The first full study of black female characters in speculative film and television, Where No Black Woman Has Gone Before shows why heroines such as Lex in AVP and Zoë in Firefly are inspiring a generation of fans, just as Uhura did.

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, 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 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 at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination 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 understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race. Contributors Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford

Bloody Women: Women Directors of Horror is the first book-length exploration of female creators at the cutting edge of contemporary horror, turning out some of its most inspired and twisted offerings.

This book seeks to interrogate the representation of Black women in television. Cheers explores how the increase of Black women in media ownership and creative executive roles (producers, showrunners, directors and writers) in the last 30 years affected the fundamental cultural shift in Black women’s representation on television, which in turn parallels the political, social, economic and cultural advancements of Black women in America from 1950 to 2016. She also examines Black women as a diverse television audience, discussing how they interact and respond to the constantly evolving television representation of their image and likeness, looking specifically at how social media is used as a tool of audience engagement.