Here is the synopsis of our sample research paper on The “Burden of Representation” for Directors and Producers of Black Cinema
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Essay / Research Paper Abstract
This is a 10 page paper discussing the burden of representation faced by African-American directors and producers making films today. The paper discusses issues faced in black cinema and has examples of films and circumstances which were affected by expectations, budget restraints, racial tensions, and mainstream exposure.
Bibliography lists 12 sources.
Page Count:
10 pages (~225 words per page)
File: D0_TJblack1.rtf
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Unformatted sample text from the term paper:
have come far from the Blaxploitation films of the 1970s which were focused on civil rights issues. The issues which involve black communities today are based on the tension and
racial differences found within society and the economic and political barriers they must face on a daily basis. Rather than a coherent movement as in the 1970s however, many black
communities today revolve around violence and drugs. African-American directors often feel that these issues should be accurately portrayed in films knowing that in doing so additional violence will occur and
critics will claim elements have been missed nevertheless. Acquiring funding for African-American films is also difficult and often times producers have turned to white directors and executives to obtain funding
and exposure only to find that the black perspectives in the films are misrepresented. African-American Images in Cinema Since the 1960s and the 1970s black cinema had been in
a slow decline until the introduction of the crossover black-white buddy movies in the late 1980s like "Driving Miss Daisy" (1989) and Lethal Weapon II (1989). This gradual reintroduction
of the black presence in film soon swelled in the early 1990s with the release of over seven black-directed films in 1990, including Charles Burnetts "To Sleep with Anger", Spike
Lees "Mo Better Blues", and Julie Dashs "Daughters of the Dust". The trend continued in 1991 with the release of twelve black directed films and over twenty other productions which
starred or had significant black roles (Guerrero 1994). This revival of the black cinema was the highest it had been since the "Blaxploitation" days of the 1970s. The surge of
black films in the 1970s however were as a result of the civil rights movements of the time and were generally cheaply made ghetto features which mostly had white directors.
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