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CATEGORIES:Africa focus
CATEGORIES:United States Focus
CATEGORIES:Civic Engagement/Social Action
CATEGORIES:Diversity/Inclusion
CATEGORIES:Global
CATEGORIES:Humanities
CATEGORIES:Politics
CATEGORIES:Arts
CATEGORIES:Lectures/Conferences
CATEGORIES:Utilities
CATEGORIES:Movie/Film
CATEGORIES:Lecture/Talk
CATEGORIES:Main
CONTACT;X-BEDEWORK-UID=2c918084-5e4b21a8-015e-58b5eff5-00001139:Meyerhoff\
 , Eli
CREATED:20250325T000525Z
DESCRIPTION:This talk explores the crucial period of the 1980s and 1990s a
 s a pivotal moment for studies in African American Cinema\, tracing the i
 ntersections of filmmaking\, institutional activism\, and scholarship. Bu
 ilding upon the groundwork laid by the diversification of university film
  programs and cultural organizations in the 1970s\, this era witnessed a 
 surge in film and television productions\, academic research\, and instit
 utional infrastructures (festivals\, community screenings\, journals\, an
 d training programs). While figures from the period like Spike Lee and Ju
 lie Dash are well-documented\, I will highlight underrecognized contribut
 ors-like Michelle Materre and Peggy Pinn\, who worked in distribution\, e
 ducation\, and institutional advocacy\, playing critical roles in buildin
 g networks of support that extended beyond the screen. While a generalize
 d Black cinema had long been a subject of cultural analysis\, this period
  marked specific shifts in structured academic engagement with African Am
 erican films\, informed by interdisciplinary developments in Africana Stu
 dies\, Women's Studies\, Queer Studies\, and Cultural Studies.\n\nAs Afri
 can American filmmakers expanded their work across independent\, experime
 ntal\, and mainstream productions\, a similar struggle for recognition\, 
 institutional support\, and documentation unfolded in academia. I argue t
 hat African American Cinema Studies\, as a discipline\, emerged in respon
 se to archival and scholarly neglect\, a form of critical gatekeeping tha
 t ultimately shaped the field's scope and methodologies. I believe that t
 his period was transformational in the intellectual history of African Am
 erican Cinema\, as scholars worked to define the field\, negotiate the ri
 sks of canon formation\, and push for sustained engagement with overlooke
 d films\, figures\, and movements.\n\nBio: Franklin Cason\, Jr. is an Ass
 istant Professor of the Practice in the Department of Art\, Art History &
  Visual Studies at Duke University. In 2019-2020 He earned a Ph.D. from t
 he University of Florida and an MFA from the School of the Art Institute 
 of Chicago. He was visiting professor at Franklin Humanities Institute at
  Duke University (2019-2020). His research explores aesthetics and pragma
 tism in African-American cinema.
DURATION:PT2H
DTSTAMP:20250325T182353Z
DTSTART;TZID=America/New_York:20250404T130000
LAST-MODIFIED:20250325T182353Z
LOCATION;X-BEDEWORK-UID=18832e99-2be309ed-012b-e5b90ab4-000001a0:Smith War
 ehouse\, Ahmadieh Family Lecture Hall\, Bay 4\, C105
STATUS:CONFIRMED
SUMMARY:The Birth of African American Cinema Studies: 1980s-1990s
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 /Topics/Humanities
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 opics/Politics
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 esInstitute,":Art\, Art History & Visual Studies\,Cinematic Arts\,Frankli
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X-BEDEWORK-SPEAKER:Franklin Cason
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 black-and-white film still
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END:VEVENT
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