scholarly journals Daughters of the Dust (Julie Dash, 1991), le récit d’esclave revisité

Amnis ◽  
2008 ◽  
Author(s):  
Delphine Letort
Keyword(s):  
Julie Dash

Julie Dash (1952–)

2018 ◽  
pp. 85-101
Author(s):  
Christina N. Baker
Keyword(s):  
Julie Dash

Making History: Julie Dash

1994 ◽  
Vol 15 (1) ◽  
pp. 76 ◽  
Author(s):  
Patricia Mellencamp
Keyword(s):  
Julie Dash

scholarly journals Afrocentric Ideologies and Gendered Resistance in Daughters of the Dust and Malcolm X: Setting, Scene, and Spectatorship

1988 ◽  
Vol 21 (1) ◽  
pp. 71-89
Author(s):  
David Jones
Keyword(s):  
African American ◽  
Collective Memory ◽  
Malcolm X ◽  
Sea Islands ◽  
Spike Lee ◽  
Black Manhood ◽  
Julie Dash ◽  
Interpretive Communities ◽  
A Site

This study of scenes from the films Daughters of the Dust and Malcolm X, describes images of myth, gender, and resistance familiar to African-American interpretive communities. Key thematic and technical elements of these films are opposed to familiar Hollywood practices, indicating the directors' effort to address resisting spectators. Both filmmakers, Julie Dash and Spike Lee respectively, chose subjects with an ideological resonance in African-American collective memory: Malcolm X, eulogized by Ossie Davis as “our living black manhood”(i) and the women of the Gullah Sea Islands, a site often celebrated for its authentically African cultural survivals. Both films combine images of an African past with an American present using a pattern of historically specific myths and tropes.

Susan Seidelman’s Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape

2016 ◽  
Author(s):  
Christina Lane
Keyword(s):  
New Technologies ◽  
Hot Flashes ◽  
Feminist Movement ◽  
Feminist Art ◽  
Julie Dash ◽  
Female Filmmakers ◽  
Second Wave ◽  
Term Response

This chapter spotlights Susan Seidelman, who came of age during the second-wave feminist movement and found success and acclaim in the 1980s indie wave but, like other female filmmakers of her generation (Julie Dash and Allison Anders), struggled subsequently when their follow-up projects failed through poor distribution or never reached production. Lane examines Seidelman’s long-term response to this dilemma through self-reinvention and by capitalising on new technologies, including digital, social and emergent media and micro-budget strategies such as crowdsourcing and self-distribution. Her most recent films (Boynton Beach Club, 2005, and The Hot Flashes, 2013) are low-budget ‘high concept’ endeavours marketed to niche audiences – seniors, Latinos and disabled rights groups – yet blend elements of commercial and independent film.

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