{"product_id":"intersecting-aesthetics-charlene-regester-9781496848857","title":"Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness","description":"Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith \u003cp\u003e\u003c\/p\u003e \u003ci\u003eIntersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness \u003c\/i\u003eilluminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, \u003ci\u003eIntersecting Aesthetics \u003c\/i\u003ereveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. \u003cp\u003e\u003c\/p\u003e The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films \u003ci\u003eThe Love Wanga\u003c\/i\u003e (1936) and \u003ci\u003eThe Devil's Daughter\u003c\/i\u003e (1939); Melvin Van Peebles's first feature, \u003ci\u003eThe Story of a Three Day Pass \u003c\/i\u003e(1967); and the Senegalese film \u003ci\u003eKarmen Geï \u003c\/i\u003e(2001). They also explore studio-era films \u003ci\u003eIn This Our Life\u003c\/i\u003e (1942), \u003ci\u003eThe Foxes of Harrow\u003c\/i\u003e (1947), \u003ci\u003eLydia Bailey\u003c\/i\u003e (1952), \u003ci\u003eThe Golden Hawk \u003c\/i\u003e(1952), and \u003ci\u003eThe Saracen Blade\u003c\/i\u003e (1954) and post-studio films \u003ci\u003eThe Learning Tree \u003c\/i\u003e(1969), \u003ci\u003e Shaft \u003c\/i\u003e(1971), \u003ci\u003eLady Sings the Blues\u003c\/i\u003e (1972), and \u003ci\u003eDevil in a Blue Dress\u003c\/i\u003e (1995).\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Charlene Regester\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 1496848853\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9781496848857\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University Press of Mississippi\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 11\/27\/2023\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 288\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 0.98lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.21h x 6.14w x 0.65d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e 10\/30\/2023","brand":"Charlene Regester","offers":[{"title":"Paperback","offer_id":44201792930047,"sku":"9781496848857","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/files\/img_83210673-91cf-409b-9c1d-b9df8fc0b0d2.jpg?v=1691491439","url":"https:\/\/www.whiterainbookhouse.com\/products\/intersecting-aesthetics-charlene-regester-9781496848857","provider":"WR Book House","version":"1.0","type":"link"}