Part 1 Over the past fifty years there have been great strides made in African American cinema. The key transformation has been the change from films made by White producers and directors for Black audiences or featuring African American actors in prominent roles to films produced and directed by African Americans. In the 1960s Melvin Van Peebles flipped the script and almost singlehandedly created the Blaxploitation genre of films with superheroes like “Super Fly” and comical farces like “Watermelon Man”. Photographer Gordon Parks followed with the subtle but in-depth look at Black family in the South with his film, “Sounder”. But in the 1980s there was a “renaissance” in Black filmmaking that began with Spike Lee’s “She’s Gotta Have It” and “Do the Right Thing” along with John Singleton’s “Boys In Da Hood”. These pioneers of modern Black cinema have been followed in the twenty-first century by producers and directors like Jordan Peele (“Get Out”) and Ryan Coogler (“Black Panther”) who have found ways to infuse African American history and Black identity into their films in new ways. Write short answers, [3-5 sentences] for each of the questions below.
African American Film and the Frontiers of Storytelling Start/ The African Roots of Afro-American Faith
1.Why did the success and popularity of W.D. Griffith’s “Birth of A Nation” lead to the creation of the first Black film company?
2. How does Brandon Wander compare Black filmmaking to mythology and myth making in African American culture?
3. Why did Melvin Van Peebles'”Super Fly” represent a transformation in the processes of Black filmmaking?
4. Why does Nina Cartier say that Black women participate in a kind of “triple signification” as future texts in Black film, television, and media?
5. What are some of the identities and aesthetics associated with Hip Hop era film production?
Part 2
Many African religions are based on hierarchical relationships among various divine forces. At the top of the hierarchy is the Creator; somewhat below the Creator are various intermediary divinities, often embodied forces of nature representing aspects of cultural aesthetics or social order; and below these are eternal life-forces, ancestors or spirit-beings that uphold moral tenets in the human society. While it is commonly accepted that realm of the Creator is inaccessible to human beings, intermediary divinities and ancestor spirits play a part in shaping the lives of human beings. Of these it is the ancestor spirits that people would honor on a daily basis through shrines and rituals in their home. No doubt they would have carried the belief with them across the Atlantic Ocean that these spiritual guides and protectors would continue to operate in their lives. Over time, as they and their children embraced Christianity more closely these personal relationships with divinity would have been transformed and refocused on Jesus Christ, his disciples, and various biblical heroes. Write short answers, [3-5 sentences] for each of the questions belowMany African religions are based on hierarchical relationships among various divine forces.
1. What are some examples of “double meanings” found in the spiritual songs created by African American slaves?
2. How were herbs, magic charms, and other sacred and spiritual paraphernalia used by African slaves for protection?
3. What role did religion play in African-American slave revolts in Haiti, Virginia, and South Carolina?
4. How were African spiritual traditions reinterpreted in the rituals of Afro-Baptist churches in Alabama?
5. How was food used as an expression of faith and spirituality in African American churches?
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