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A rare look at Spike Lee’s creative appropriation of the documentary film genre. In this groundbreaking book, Delphine Letort sheds light on a neglected part of Spike Lee’s filmmaking by offering a rare look at his creative engagement with the genre of documentary filmmaking. Ranging from history to sports and music, Lee has tackled a diversity of topics in such nonfiction films as 4 Little Girls, A Huey P. Newton Story, Jim Brown: All-American, and When the Levees Broke: A Requiem in Four Acts. Letort analyzes the narrative and aesthetic discourses that structure these films and calls attention to Lee’s technical skills and narrative-framing devices. Drawing on film and media studies, African American studies, and cultural theories, she examines the sociological value of Lee’s investigations into contemporary culture and also explores the ethics of his commitment to a genre characterized by its claim to truth. “The Spike Lee Brand makes a very important contribution to scholarly studies on the film-work of Spike Lee [and] places Lee in the pantheon of important social political documentarians such as Claude Lanzmann and Emile de Antonio.” — from the Foreword by Mark A. Reid
This career-spanning monograph is a visual celebration of Spike Lee's life and career to date. Featuring hundreds of never-before-seen photographs by David Lee, Spike's brother, this book includes behind-the-scenes, insider images that underscore his creative process, and his significant impact on the culture at large. Print run 15,000.
The provocative filmmaker describes his early achievements in the 1986 film, She's Gotta Have It, through his contributions to such movies as Do the Right Thing and Malcolm X, in a personal portrait complemented by numerous firsthand accounts that also discuss the role of race in his work and his relationships with famous stars. Reprint.
Go back to bed, baby, please, baby, please. Not on your HEAD, baby baby baby, please ... From moments fussy to fond, Academy Award-nominated filmmaker Spike Lee and his wife, producer Tonya Lewis Lee, present a behind-the-scenes look at the chills, spills, and unequivocal thrills of bringing up baby Vivid illustrations from celebrated artist Kadir Nelson evoke toddlerhood from sandbox to high chair to crib, and families everywhere will delight in sharing these exuberant moments again and again.
The phenomenon of Spike Lee continues with this revealing and engaging look at his outstanding career, his creative process, and the screenplay for his dynamic movie Do The Right Thing. Spike Lee burst full formed into the screen world with his award-winning, commercially successful independent film She's Gotta Have It. In the few short years following this stellar debut he has established himself as a force to be reckoned with in the film industry and in American popular culture. This book reveals Spike Lee as a Hollywood iconoclast and gifted visionary and takes us though the dramatic sequence of events that brought the movie Do The Right Thing to fruition. It is a testimonial to his developing genius, written in the stingingly funny and informed language of Spike Lee.
A critical and interpretive tribute to the work of film maker Spike Lee. Essays by African-American writers - Terry McMillan, Toni Cade Bambara, Nelson George, Charles Johnson, Henry Louis Gates, Jr and Melvin Van Peebles - accompany production stills taken by David Lee.
Since the release of Do the Right Thing in 1989, Spike Lee has established himself as a cinematic icon. Lee's mostly independent films garner popular audiences while at the same time engaging in substantial political and social commentary. He is arguably the most accomplished African American filmmaker in cinematic history, and his breakthrough paved the way for the success of many other African Americans in film. In this first single-author scholarly examination of Spike Lee's oeuvre, Todd McGowan shows how Lee's films, from She's Gotta Have It through Red Hook Summer, address crucial social issues such as racism, paranoia, and economic exploitation in a formally inventive manner. McGowan argues that Lee uses excess in his films to intervene in issues of philosophy, politics, and art. McGowan contends that it is impossible to watch a Spike Lee film in the way that one watches a typical Hollywood film. By forcing observers to recognize their unconscious enjoyment of violence, paranoia, racism, sexism, and oppression, Lee's films prod spectators to see differently and to confront their own excess. In the process, his films reveal what is at stake in desire, interpersonal relations, work, and artistic creation itself.
Spike Lee rises again. This time, he and Lisa Jones document his transition from struggling independent to mainstream filmmaker with the making of the Columbia Pictures film, School Daze. No longer working with a small cast and a painfully tight budget, Spike Lee and his crew find themselves working in a swirl of university politics, a cast of thousands, big musical production numbers and the not-insignificant pressures of coming up with a hit in the majors. He "uplifts the race" by demystifying the process of producing an entertaining commercial film that, at the same time, delivers a stinging - yet funny - critique on American culture.
“On some days your dreams may seem too far away to realize… Listen to the whispers of those that came before...” People throughout history have taken giant steps toward improving the world—but even the smallest step makes a difference. A wonderful and inspiring gift, Giant Steps to Change the World encourages readers to follow in the footsteps of those who came before, to reject fears of inadequacy, and to ponder what they can contribute to society.
In the 1960s and 1970s, the civil rights movement and other national and cultural movements fractured dominant paradigms of American identity and demanded a reformulation of American values and norms. This book borrows the moral, ethical, and political purposes of these movements to show how film, literature, photography, and television news broadcasts construct essentialist myths about race, gender, sexuality, and nation. It also examines how some visual and literary works and public reactions challenge these essentialist myths by exploring racial, sexual, and national anxieties. Reid explains how artists such as filmmakers Julie Dash, Spike Lee, and Marlon Riggs, photographers Rotimi Fani-Kayode and Gordon Parks, novelists John A. Williams and Ayi Kwei Armah, playwright Adrienne Kennedy, and poet Bob Kaufman portray the fears of people in the grips of social and psychological change. In each chapter, he explores how an important social issue—black feminism, interracial intimacy, biracial and homosexual identity, and black erotica, for example—is presented in film, literature, and photography. Throughout the book Reid's analysis is driven by a postNegritude understanding of race and cultural identity as a socially acquired and unfixed process rather than a biological fact. By showing how visual and literary artists challenge hegemonies of power through the creative imagination, he challenges monolithic and fixed notions of race, ethnicity, sexuality, gender, religion, and cultural identity.