"A collection of humorous essays on what it's like to be unabashedly awkward in a world that regards introverts as hapless misfits, and Black as cool ... [from] Issa Rae, the creator of the Shorty Award-winning ... series The Misadventures of Awkward Black Girl"--
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Western culture has long regarded black female sexuality with a strange mix of fascination and condemnation, associating it with everything from desirability, hypersexuality, and liberation to vulgarity, recklessness, and disease. Yet even as their bodies and sexualities have been the subject of countless public discourses, black women’s voices have been largely marginalized in these discussions. In this groundbreaking collection, feminist scholars from across the academy come together to correct this omission—illuminating black female sexual desires marked by agency and empowerment, as well as pleasure and pain, to reveal the ways black women regulate their sexual lives. The twelve original essays in Black Female Sexualities reveal the diverse ways black women perceive, experience, and represent sexuality. The contributors highlight the range of tactics that black women use to express their sexual desires and identities. Yet they do not shy away from exploring the complex ways in which black women negotiate the more traumatic aspects of sexuality and grapple with the legacy of negative stereotypes. Black Female Sexualities takes not only an interdisciplinary approach—drawing from critical race theory, sociology, and performance studies—but also an intergenerational one, in conversation with the foremothers of black feminist studies. In addition, it explores a diverse archive of representations, covering everything from blues to hip-hop, from Crash to Precious, from Sister Souljah to Edwidge Danticat. Revealing that black female sexuality is anything but a black-and-white issue, this collection demonstrates how to appreciate a whole spectrum of subjectivities, experiences, and desires.
How the internet transformed television Before HBO’s hit show Insecure, Issa Rae’s comedy about being a nerdy black woman debuted as a YouTube web series The Misadventures of Awkward Black Girl, her response to the absence of diverse black characters on the small screen. Broad City, a feminist sitcom now on Comedy Central, originated as a web series on YouTube, developed directly out of funny women Ilana Glazer and Abbi Jacobson’s real-life friendship. These unconventional stories took advantage of the freedom afforded outside the traditional television system: online. Open TV shows how we have left “the network era” far behind and entered the networked era, with the web opening up new possibilities for independent producers, entrepreneurs, and media audiences. Based on interviews with writers, producers, show-runners, and network executives, visits to festivals and award shows, and the experience of producing his own series, Aymar Jean Christian argues that the web brought innovation to television by opening up series development to new producers, fans, and sponsors that had previously been excluded. Online access to distribution provides creative freedom for indie producers, allows for more diverse storytelling from marginalized communities, and introduces new ways of releasing and awarding shows. Open TV is essential reading for anyone interested in the changing environment of television and how the internet can inspire alternatives to what’s on TV tonight.
Offers a timely analysis of the sheer ingenuity and persistence of young people who cobble together the resources they need to pursue the lives and careers they want. Young adults are coming of age at a time when work is temporary, underpaid, incommensurate with their education, or downright unsatisfying. Despite these challenges, media scholar S. Craig Watkins argues that this moment of precarity is rife with opportunities for innovation, and that young adults are leading the charge in turning that into an inventive and surprisingly sustainable future. As a result, society is expanding its understanding of who we think of as innovators and what qualifies as innovation, while wealth is spreading beyond traditional corridors of powerful tech companies, venture capitalism, and well-endowed universities. Drawing on over ten years of interviews and data, Watkins reveals the radical ways in which this community of ambitious young creatives is transforming businesses from the outside in. Diverse perspectives that are often ignored or silenced by major corporations are garnering public attention as women and people of color are redefining industries across the globe—all from their computer screens. We meet people like Prince Harvey, a New York–based hip-hop artist who recorded his album entirely on an Apple showroom laptop; screenwriter, producer, and actor Issa Rae, who first used YouTube and Kickstarter to develop the web series that became her hit HBO show Insecure; the Empowerment Plan, a nonprofit organization created by product design student Veronika Scott in Detroit; and start-up companies like Qeyno Group in San Francisco and Juegos Rancheros in Austin that help make tech more accessible to people of color. Forward-thinking and dynamic, Don’t Knock the Hustle shows the diversity and complexity of a generation on the rise. UNIQUE APPROACH TO UNDERSTANDING MILLENNIALS that looks beyond stereotypes about their relationships with tech and labor, based on two yea
This book seeks to interrogate the representation of Black women in television. Cheers explores how the increase of Black women in media ownership and creative executive roles (producers, showrunners, directors and writers) in the last 30 years affected the fundamental cultural shift in Black women’s representation on television, which in turn parallels the political, social, economic and cultural advancements of Black women in America from 1950 to 2016. She also examines Black women as a diverse television audience, discussing how they interact and respond to the constantly evolving television representation of their image and likeness, looking specifically at how social media is used as a tool of audience engagement.
Introduction: independents change the channel -- Developing open tv: innovation for the open network, 1995-2005 -- Open tv production: revaluing creative labor -- Open tv representation: reforming cultural politics -- Open tv distribution: struggling for an independent market -- Scaling open tv: the challenges of big data television -- Epilogue: open tv and the future of the networked era
- Author : David J. Leonard
- Publisher : ABC-CLIO
- Release Date : 2021-01-31
- Genre : Social Science
- Pages : 805
- ISBN : 9781440843068
This two-volume encyclopedia explores representations of people of color in American television. It includes overview essays on early, classic, and contemporary television and the challenges, developments, and participation of people of color on and behind the screen. Covering five decades, this encyclopedia highlights how race has shaped television and how television has shaped society. Offering critical analysis of moments and themes throughout television history, Race in American Television shines a spotlight on key artists of color, prominent shows, and the debates that have defined television since the Civil Rights Movement. This book also examines the ways in which television has been a site for both reproduction of stereotypes and resistance to them, providing a basis for discussion about American racial issues. This set provides a significant resource for students and fans of television alike, not only educating but also empowering readers with the necessary tools to consume and watch the small screen and explore its impact on the evolution of racial and ethnic stereotypes in U.S. culture and beyond. Understanding the history of American television contributes to deeper knowledge and potentially helps us to better apprehend the plethora of diverse shows and programs on Netflix, Hulu, YouTube, and other platforms today. Offers accessible yet critical discussions of television culture Provides historic understanding of the contributions of significant artists of color to the history of American television Discusses a diversity of shows as well as debates and themes central to the history of American television
A new edition that brings the ways we watch and think about television up to the present We all have opinions about the television shows we watch, but television criticism is about much more than simply evaluating the merits of a particular show and deeming it “good” or “bad.” Rather, criticism uses the close examination of a television program to explore that program’s cultural significance, creative strategies, and its place in a broader social context. How to Watch Television, Second Edition brings together forty original essays—more than half of which are new to this edition—from today’s leading scholars on television culture, who write about the programs they care (and think) the most about. Each essay focuses on a single television show, demonstrating one way to read the program and, through it, our media culture. From fashioning blackness in Empire to representation in Orange is the New Black and from the role of the reboot in Gilmore Girls to the function of changing political atmospheres in Roseanne, these essays model how to practice media criticism in accessible language, providing critical insights through analysis—suggesting a way of looking at TV that students and interested viewers might emulate. The contributors discuss a wide range of television programs past and present, covering many formats and genres, spanning fiction and non-fiction, broadcast, streaming, and cable. Addressing shows from TV’s earliest days to contemporary online transformations of the medium, How to Watch Television, Second Edition is designed to engender classroom discussion among television critics of all backgrounds.
The New York Times bestselling authors of I Had a Nice Time and Other Lies and Nice Is Just a Place in France and founders of Betches.com are back with a guide on how to thrive professionally, get ahead in the workforce, and basically become the Beyoncé of whatever you aspire to do. We get it. You run shit. You can go from being blackout at drunk brunch to being ready to meet your new boyfriend’s parents in two seconds. But how do you go from being the boss of your personal life to taking charge of your career? That’s where the Betches come in. We are dedicated to making you the most successful, betchiest career woman you can be. After all, we only became Betches after we worked like, really hard. And now we’re confident enough to help you become the best. You’re welcome. You can thank us later. As New York Times bestselling author Jessica Knoll says, “I only ever want the cold, hard truth from a betch.” So whether you’re trying to become a CEO, navigate an office hookup, or just save enough money to go to happy hour twice a week, we’re here to help. It’s time to channel your inner Elle Woods, Miranda Priestly, and Ruth Bader Ginsburg. Per our last email, you better read this.
Covering from 1900 to the present day, this book highlights how female artists, actors, writers, and activists were involved in the fight for women's rights, with a focus on popular culture that includes film, literature, music, television, the news, and online media. • Provides readers with a unique collection of feminist moments across a variety of mediated forms • Highlights female artists, writers, performers, athletes, and activists involved in the fight for women's rights over the course of more than a century • Presents an interesting and succinct guide for some of the most important moments in media history when women asserted themselves in the quest for equal rights • Addresses topics represented in the media, including equal pay, birth control, sexism, and racism
In this analysis of social history, examine the complex lineage of America's oppression of Black companionship. According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries.
“One of the year’s must-reads.” –ELLE “[A] provocative, heart-breaking, and frequently hilarious collection.” –GLAMOUR “Essential, vital, and urgent.” –HARPER’S BAZAAR In the vein of Roxane Gay’s Bad Feminist and Issa Rae’s The Misadventures of Awkward Black Girl, but wholly its own, a provocative, humorous, and, at times, heartbreaking collection of essays on what it means to be black, a woman, a mother, and a global citizen in today's ever-changing world. Black women have never been more visible or more publicly celebrated than they are now. But for every new milestone, every magazine cover, every box office record smashed, every new face elected to public office, the reality of everyday life for black women remains a complex, conflicted, contradiction-laden experience. An American journalist who has been living and working in London for a decade, Kenya Hunt has made a career of distilling moments, movements, and cultural moods into words. Her work takes the difficult and the indefinable and makes it accessible; it is razor sharp cultural observation threaded through evocative and relatable stories. Girl Gurl Grrrl both illuminates our current cultural moment and transcends it. Hunt captures the zeitgeist while also creating a timeless celebration of womanhood, of blackness, and the possibilities they both contain. She blends the popular and the personal, the frivolous and the momentous in a collection that truly reflects what it is to be living and thriving as a black woman today.
A comprehensive look at the history of African Americans on television that discusses major trends in black TV and examines the broader social implications of the relationship between race and popular culture as well as race and representation.
TV Outside the Box: Trailblazing in the Digital Television Revolution explores the new and exploding universe of on-demand, OTT (Over the Top) networks: Netflix, Amazon, Hulu, Crackle, CW Seed, Vimeo, AwesomenessTV, and many more. Featuring in-depth conversations with game-changing content creators, industry mavericks, and leading cultural influencers, TV Outside the Box is essential reading for anyone interested in the dynamics of a global media revolution – while it’s happening. Readers will discover: How the new "disruptors" of traditional television models are shaping the future of the television and feature film business. You’ll hear directly from the visionaries behind it all – from concept genesis to predictions for the future of streaming platforms; their strategies for acquisitions and development of new original content; and how the revolution is providing unprecedented opportunities for both established and emerging talent. What’s different about storytelling for the progressive, risk-taking networks who are delivering provocative, groundbreaking, binge-worthy content, without the restraints of the traditional, advertiser-supported programming model. Through interviews with the showrunners, content creators, and producers of dozens of trailblazing series – including Orange Is the New Black, House of Cards, Transparent, and many more – you’ll learn how and why the best and the brightest TV content creators and filmmakers are defining the new digital entertainment age – and how you can, too.
Media independence is central to the organization, make-up, working practices and output of media systems across the globe. Often stemming from western notions of individual and political freedoms, independence has informed the development of media across a range of platforms: from the freedom of the press as the "fourth estate" and the rise of Hollywood’s Independent studios and Independent television in Britain, through to the importance of "Indy" labels in music and gaming and the increasing importance of independence of voice in citizen journalism. Media independence for many, therefore, has come to mean working with freedom: from state control or interference, from monopoly, from market forces, as well as freedom to report, comment, create and document without fear of persecution. However, far from a stable concept that informs all media systems, the notion of media independence has long been contested, forming a crucial tension point in the regulation, shape, size and role of the media around the globe. Contributors including David Hesmondhalgh, Gholam Khiabany, José van Dijck, Hector Postigo, Anthony Fung, Stuart Allan and Geoff King demonstrate how the notion of independence has remained paramount, but contested, in ideals of what the media is for, how it should be regulated, what it should produce and what working within it should be like. They address questions of economics, labor relations, production cultures, ideologies and social functions.
Exploring the forces that keep black people vulnerable even amid economically privileged lives At a moment in U.S. history with repeated reminders of the vulnerability of African Americans to state and extralegal violence, Black Bourgeois is the first book to consider the contradiction of privileged, presumably protected black bodies that nonetheless remain racially vulnerable. Examining disruptions around race and class status in literary texts, Candice M. Jenkins reminds us that the conflicted relation of the black subject to privilege is not, solely, a recent phenomenon. Focusing on works by Toni Morrison, Spike Lee, Danzy Senna, Rebecca Walker, Reginald McKnight, Percival Everett, Colson Whitehead, and Michael Thomas, Jenkins shows that the seemingly abrupt discursive shift from post–Civil Rights to Black Lives Matter, from an emphasis on privilege and progress to an emphasis on vulnerability and precariousness, suggests a pendulum swing between two interrelated positions still in tension. By analyzing how these narratives stage the fraught interaction between the black and the bourgeois, Jenkins offers renewed attention to class as a framework for the study of black life—a necessary shift in an age of rapidly increasing income inequality and societal stratification. Black Bourgeois thus challenges the assumed link between blackness and poverty that has become so ingrained in the United States, reminding us that privileged subjects, too, are “classed.” This book offers, finally, a rigorous and nuanced grasp of how African Americans live within complex, intersecting identities.
- Author : Ollie L Jefferson
- Publisher : Unknown
- Release Date : 2020-12-15
- Genre : Uncategorized
- Pages : 270
- ISBN : 9781793628879
This book illustrates how Queen Sugar acts as an industry model for exemplary representation of Black women in television. The author demonstrates how the narrative can change when culturally sensitive and conscious women of color tell their own stories
"This book uses the Twitter, YouTube, and Tumblr productions of Black women as evidence that negative ideas about Black women can be transformed. Misogynoir describes the uniquely co-constitutive racialized and sexist violence that befalls Black women"--
In recent years, the television landscape has seen the glorious rise of women to key positions of power within the industry, from writers to producers to directors. Successes like Shonda Rhimes's Holy Trinity of shows as a producer-Grey's Anatomy, Scandal, How to Get Away with Murder-and critical darlings like Lena Dunham's Girls, Jill Soloway's Transparent and Jenji Kohan's Orange Is the New Black have heralded a revolution and inspired women creators to put their smartest and boldest art onto screens everywhere. But this wasn't always the case. The story of how women were able to make their names in an often misogynistic and myopic industry is a decades-long journey full of challenges, hard work, heartbreak, and determination. Starting with Roseanne Barr and Diane English with their now iconic shows, Roseanne and Murphy Brown respectively, Press shows us how strategic advocating for women in writers' rooms, in producing discussions, and behind the camera as directors led to an inspiring new era for television drama. Exhaustively researched and featuring insightful commentary and interviews from the key players involved, this book is the essential companion to what has become a game-changer in our culture.
A celebration of the most groundbreaking women in comedy who used humor to shake up the status quo and change perceptions of gender and comedy forever. The League of Extraordinarily Funny Women celebrates the outstanding contributions of fifty women in comedy past and present. From legends like Lucille Ball, Joan Rivers, and Tina Fey to current comedy heroes like Issa Rae, Lena Waithe, Abbi Jacobson, and Tig Notaro, this beautifully illustrated book charts a rich lineage of women using humor to speak truth to power, tangle with sensitive subjects, challenge the status quo, and do anything but sit still and stay quiet when laughs are on the line. Some of these women broke boundaries as pioneers on stage as well as in front of and behind the camera. Others penned their way into the history of American humor, redrawing the boundaries of writers' rooms to include diverse voices and perspectives. Through their collective work as stand-ups, sketch and improv comics, humor writers, and slapstick film stars, these women formed a network forged by creativity, guts, and a deep love of what comedy can do and be. In the process, they continue to pass their knowledge and insights from woman to woman, from funny generation to funny generation, offering support, inspiration, and, above all, laughter.