Just some thoughts I had from conversation about Spike Lee handling spaces that are not his home New York City. From Chi-Raq to Levees, there is always critique of Lee when handling places that do not resemble his Brooklyn upbringing.
This article is old, but discusses am upcoming documentary on racial politics (assumingly) in Brazil that Lee is directin at the moment. It is set to release this year. I was wondering about people’s thoughts on how Spike Lee treats other places and, if yes, how does that treatmwnt further a particular directorial agenda?
Ever since we watched Hollywood Shuffle and Bamboozled, Dave Chappelle and his decision to leave his highly successful show in the mid-2000s has been very interesting to me. He decided to leave the show as he felt that the jokes he was making were actually reinforcing and perpetuating the racist thought that he was hoping to make fun of and eradicate. After leaving his show, and the millions of dollar Continue reading “Dave Chappelle in Chi-Raq”
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”
Throughout this semester, I think that the most common misgiving that people have vocalized in regards to Spike Lee is his perception on black women. At best, he engages in bad feminism, and at worst, he hates black women. He does not afford black women the same complexities that he gives men, and he’s more inclined to redefine black masculinity over discussing problems relating to black women. The movies that elicited this response the most were Mo’ Better Blues, School Daze, and his most recent film Chi-Raq, and there were also problems with female representation in Malcolm X and Get On The Bus. Continue reading “Future Projects Laced with Past Mistakes”
Shout out to @dfregia @nisaajay and @ireesdeelia for the discussion a couple of weeks ago; would not have thought of this post without your help! So my group and I discussed the power of the gun in Chiraq (here’s a link to that discussion). In the end, we agreed that firearms represented the crux of the conflict in the film, characterized by Father Corridan during his sermon in the beginning of the film. To highlight this conclusion, I would like to point to some of the cinematography within that sequence that helped bring us to that conclusion. Continue reading “Who’s The Real Problem?”
Next, I want to tackle a scene that confronts Nick Cannon’s Chiraq with his demons, a scene that comes to life through Lee’s careful application of the zolly technique. I spoke at length about this device within the context of Lee’s Inside Man (here’s a link to that discussion). Continue reading “Chiraq Zolly: The Road to Redemption”
With that last post out of the way, I now want to point at some crucial scenes in Chiraq, the ones that exist between and within the sex that so many of us have rallied against. Continue reading “What is the True Meaning of Life?”