Spike Lee is arguably the most famous Knicks fan on the floor each night. The man is committed, even after this brutal season. It’s interesting that after devoting his life to this one team– and certainly bringing publicity to the team– he doesn’t get the love back from the organization.
Phil Jackson said of Spike Lee, “Spike is an avid Knicks fan who doesn’t know anything about basketball.” Judging by that Knicks record, Phil, your triangle offense ain’t working either.
How might Lee, being one of the most famous Knicks fans, use his influence to further the African-American cause? Why might the organization push back on Lee’s association with them?
This final exam was a collaborative effort between @marquezdoee, @rpark16 (from blog 2), and @emersonking.
About an hour and a half into the film, Lysistrata comes face to face with Ol’ Duke and the rest of his sex-starved posse, The Knights. With a series of shot reverse shots, Lee constructs the sequence with a level of intensity that comes with any face-off, placing the men on one end and the women on the other. Throughout this sequence, Lee utilizes a combination of sound and image to communicate an interplay between the male and female characters on screen, a dynamic that causes a shift in power that begins with the Knights and ends up with the strikers.
Continue reading “SLJoints Final: Gender Dynamics Through Audio-Visual Editing”
Satire needs to have a cutting point. It needs intention, and in this film, the intention was unclear. That being said, we identified scenes interspersed throughout when Lee used form to make statements about power. When the men sneak into the armory to unlock the chastity belts, Old Duke decides to challenge Lysistrata. He insults her, asking the women “to be polite… bow down to the man.” Rather than give in, Lysistrata attacks the men’s masculinity. The sound design of the scene is important: we hear her heels but not his footsteps. When she smacks Old Duke, all of the men seem physically affected when their heads flinch. This is an exceptional scene from the film, and by that we mean both powerful, and an exception. We found Chi-Raq’s ending to be too digestible, and out of touch with reality. The film isn’t grounded in reality, but we are.
Throughout the film, we see women of color use their sexuality as a weapon.
This screenshot from Mo Better Blues urges viewers to think critically about the role of women in Bleek’s life, and in the context of other men in the film.
Continue reading “Midterm: Women as tools to be exploited”
Do any of you feel as though the discussions in this class are often too unapologetic to Spike Lee? The only reason I bring this up is because we discuss him as an infallible figure. Speaking generally, just off the top of my head, I’m thinking of sexist undertones in Mo’ Better Blues and overt homophobic themes in School Daze. Thoreau has an entire chapter, Baker Farm in Walden, that I found to be some of his poorest work which was irreprehensibly contradictory. This does not mean I reject all other aspects of Thoreau’s– or Lee’s– work because of specific pitfalls. It does mean I question certain parts of each mans work. Thoughts?
In class, we only dived deep into gender roles in School Daze on one day. I’d like to keep that conversation going.
How are the Gamma Rays portrayed? What’s their role?
Continue reading “Role of the Gamma Rays?”
The forms of violence used on black people from white authority in the film is worth discussing. Continue reading “Historicized Violence in DTRT”