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FUTURE NOTES FOR MONUMENT THE FUTURE EMERGENCIES NOTES FOR THE FUTURE MONUMENT 3 I II III Pages 4-135 Pages 136 - 249 Pages 250 - 343 Where Did All The Black Love Stories Will I Ever Truly Know Myself: The Animal Crossing: New Horizons: cute Go? Progress Of An Artist Is A Continual capitalism and nostalgia in a post Self Sacrifice, A Continual Extinction internet debt economy Taja Boodie Of Personality Amina Onitilo Pages 8 - 25 Sophie Holden Pages 252 - 269 Pages 138 - 153 The Role Of The Snapshot In Resisting The Colonial Gaze During Carnepolitics: the meatification of The Civil Rights Movement, 1954-1968 Technology, cognition, and our Women and Animals relationship with our bodies Lauren Hillsdon Lauren McDougall Juliusz Grabianski Pages 26 - 43 Pages 270 - 289 CONTENTS Pages 154 - 171 Twilight of the Unhomely The Divided Bodies and Spirits:On Can art be transcendental? An Seeing Women as Commodities in Fraser Hanley-Nicholls exploration of artists’ approach the Contemporary Age towards the metaphysical Pages 44 - 61 Ruiqi Li Anna Janberga Pages 290 - 305 Pages 172 - 187 Introduction to Performative Blackness: ‘Otherness’ as Gift and the Objectification of Black Female Pornification of Contemporary Subjecthood In the Essence of the Dream Culture, Fashion and Photography: and its effects on young people Maya Gurung-Russell Campbell Renée Marie Kiangala Isabelle Leonard Pages 62 - 79 Pages 188 - 209 Pages 306 - 323 May the Real Ornament Please Stand Visualising The Ineffable up: Rethinking the Yellow Fetish and Troubled Peace its Agency of Resistance Maria Blaga Danielle Anderson Bart Seng Wen Long Pages 210 - 227 Pages 324 - 339 Pages 80 - 109 Non-representational approaches to photography: understanding Biography Is the archive through photography materiality in the Digital Age really our memory? Anna Komitska Pages 340 - 343 Shiliang Hu Pages 228 - 249 Pages 110 - 135 4 5 I 6 7 Where Did All The Black Love Stories Go? Taja Boodie List of Illustrations fig. 1: Witcher, T (1997) Love Jones [Film Still] Available at: https://www.interviewmagazine.com/film/love-jones-into-fall-film (Accessed 8th February 2021) fig. 2: Steve McQueen & Cast at the Oscars (2014) [Picture] Available at: https://eu.usatoday.com/story/life/movies/2014/03/02/oscars-news story/5948881/ (Accessed 3rd February 2021) fig. 3: Lee & Low (2014) The Diversity Gap in Sci-Fi & Fantasy Films [Infographic] Available at: https://blog.leeandlow.com/2014/07/29/wheres-the-diversity-hollywood sci-fi- and-fantasy-blockbusters-overwhelmingly-white-male/ (Accessed 8th February 2021) fig. 4: Matsoukas, M (2019) Queen & Slim [Film Still] Available at: https://ew.com/movie-reviews/2019/11/25/queen-and-slim-review/ (Accessed 8th February 2021) fig. 5: Jenkins, B (2016) Moonlight [Film Still] Available at: https://www.theatlantic.com/entertainment/archive/2016/10/moonlight barry- jenkins-review/505409/ (Accessed 8th February 2021) fig. 6: Famuyiwa, R (2002) Brown Sugar [Film Still] Available at: http://see-aych.com/2000s-movies/brown-sugar/ (Accessed 8th February 2021) fig. 7: Meghie, S (2020) The Photograph [Film Still] Available at: https://www.nytimes.com/2020/02/19/movies/black-romance-the photograph.html (Accessed 8th February 2021) fig. 8: Berkofsky, A (2020) ‘Lowkey Happy’ Insecure, Series 4, Episode 8. HBO, 31 May 2020 [TV Still] Available at: https://www.awesomelyluvvie.com/2020/06/lowkey-happy-insecure 408-recap.html (Accessed 8th January 2021) Acknowledgment Firstly, I would like to give thanks to God for allowing me to complete my degree. I would like to thank my parents and grandparents for always being a positive driving force in my life, my friends and peers for bullying me into persevering and wanting what is best for me. Finally, I would like to thank my tutor, Ileana-Lucia Selejan, for all of her genuine support and enthusiasm for my thesis 1. Introduction Every year, we are presented with repackaged stories about slavery, police brutality or any other kind of Black struggle on our cinema screens. Occasionally, they prove so popular that they go on to achieve multiple awards. Each year with the advent of Black History Month we see stories both old and new about drugs, gang crime, sex, racism and fighting for justice. We see the same old documentaries about Black activists, revered jazz musicians and rappers. What is more difficult to find is a Black love story, not a love story tainted by ‘sufferation’ but simply boy meets girl who fall in love and get married; or a couple that have regular relationship 8 9 problems that are not directly related to their race. Unlike the plethora of white romance films, emotional development and connection of the protagonist within her relationships negatively love always appears to be a secondary theme in modern films about Black people and Black impacted her and did not receive the development its complexity deserved. In turn it sought lives. What we see instead is the exacerbation of their struggles through the continuum of to make Nola’s relationship with sex the focal point of the story. The next offerings saw the films that do not set out to fill us with joy, but rather serve to remind us of the issues that we release of what would become the cult ‘hood classics’ Boyz n the Hood (1991), Straight Out of face daily. I would like to introduce the term ‘sufferation’ as a West Indian proverb pertaining Brooklyn (1991) and New Jack City (1991). to great hardship in life, particularly related to socioeconomic struggles. In the wider context, the impact of slavery and colonialism has placed Black people in a perpetual state of existence Boomerang arrived in 1992, heralding a move towards Black romance films. It was both funny that prevents them from having access to progression in society. and sexy, all the simple things expected from a romantic comedy. The story depicted Black people living a middle-class lifestyle, as marketing executives and art directors with effortless The health blog The Mighty defines trauma porn as “media that showcases a group’s pain upward mobility, something that would become a common thread in some of the Black films and trauma in excessive amounts for the sake of entertainment” (J, 2020), stating that it also that followed. Subsequently we saw films such as Poetic Justice (1992), Jason’s Lyric (1994), “has the tendency to cater to the non-marginalized person’s ego versus actually helping the The Inkwell (1994) and Waiting to Exhale (1995). marginalized person depict what life is really like for them” (J, 2020). This manifests itself in the viral distribution of videos showing brutal violence against innocent and unarmed Black people, as much as it does by way of centralising different variations of the same pain in films shown on the big screen. If we solely focused on the phenomenon of Hollywood and films that are widely accessible at cinema, it is completely feasible that one could conclude that love does not exist in Black communities – although this is clearly not true. Love is the thing that binds people together, irrespective of creed or colour and is vital to those who face continuous oppression and struggle. Imagine for a moment while watching another story of ‘trauma porn’ we noticed the presence of love in the script, we would see that it manifests itself in all capacities – whether familial or romantic. Yet the space made for the telling of how these relationships are formed has been insufficient and little importance is given to how they exist. In this thesis, I wish to determine why these stories are not made visible, whether the act of gatekeeping has become dominant or whether we have simply moved on from an idealistic approach to the role of film in this modern society. Although the focal point of this work is the Black romance film, I will also explore and touch on wider issues that affect Black writers and directors across other genres. I also wish to discuss how the quest for equal representation requires re-evaluation in order for significant progress to be made. This work will centre around three case studies of Black films released in the last five years, that have been categorised as ‘romance’ films and examples of how the love story can be clouded by social commentary. Finally, I will offer and discuss possible solutions that allow the artist to maintain their artistic integrity. 2. Romance and the Black Romance (fig 1) Theodore Witcher, Love Jones, 1997 I shall begin by looking at what constitutes a romance film. According to Filmsite, romance In 1997, Theodore Witcher gave us his directorial debut Love Jones. It followed the films are stories that take us through “the romantic, affectionate involvement of the main relationship between two artists, poet Darius Lovehall and photographer Nina Mosley. This film characters” (Filmsite, no date), making “the love story or search for love the main plot focus” offered an alternative Black romance, based on the passions of the main characters. The film (Filmsite, no date). They also mention that this is normally a heterosexual relationship which was popular with Black audiences without any trauma porn in sight, offering a realistic attempt ends in “courtship or marriage” (Filmsite, no date). In more progressive filmmaking we see at a genuine love story. Witcher presented his characters in the context of a world familiar changes in the configuration of these relationships, with a large percentage of romance films only to a limited demographic and unfamiliar to the many. Black people were existing in a life ending without an answer or establishment made about their relationship. This could be a surrounded by other upcoming Black artists, writers, teachers, walking around record stores rekindling after a fallout, or perhaps ending on the couple walking off into the distance which and coffee shops.
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