Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness.
This article engages the limits of both film and race studies in their approach to heterogeneous and "low" forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore's films have been almost entirely overlooked in both film studies and black studies...
| Publicado en: | Journal for Cultural Research Vol. 11; no. 3; pp. 203 - 220 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jul2007
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=27665426&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 27665426 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14797585 QMJ jtl: Journal for Cultural Research issn: 14797585 maglogo: Y pubinfo: dt: Jul2007 vid: 11 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 27665426 10.1080/14797580701763814 ppf: 203 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 78KB tig: atl: Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness. aug: au: Munby, Jonathan su: African American artists Moore, Rudy Ray Gates, Henry Louis, 1950- Motion pictures Hip-hop culture sug: subj: African American artists Moore, Rudy Ray Gates, Henry Louis, 1950- Motion pictures Hip-hop culture ab: This article engages the limits of both film and race studies in their approach to heterogeneous and "low" forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore's films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today's hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of "signifying", advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets - and grounds a claim for why we should take "bad" black film seriously. Close film and context analysis illustrates how Moore's low-budget films "signify" on Hollywood and the system of expectancies that go with putatively "good" filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore's films contribute to the long history and rich language of "toasting" in African American oral culture and music. As such, far from being emblematic of black filmmaking's impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal for Cultural Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal for Cultural Research holder: Taylor & Francis Ltd dt: @attributes: year: 2007 holdings: @attributes: islocal: N |
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