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Spike Lee As Sellebrity Auteur 345 Andrew Dewaard Doing the Right Thing by Any Means Necessary 19

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Spike Lee As Sellebrity Auteur 345 Andrew Dewaard Doing the Right Thing by Any Means Necessary 19 Fight the Power! The Spike Lee Reader FOREWORD BY Spike lee Janice D. Hamlet and Robin R. Means Coleman , EDITORS PETER LANG PETER LANG New York • Washington , D.C./Baltimore • Bern New York • Washington , D.C./Baltimore • Bern Frankfurt am Ma in • Berlin • Brusse ls • Vienna • Oxford Frankfurt am Main • Berlin • Brussels • V1 enna • Oxford Library of Congress Cataloging-in-Publication Data Fight the power!: the Spike Lee reader I edited by Jani ce D. Hamlet, Robin R. Means Coleman. p. em. Contents In cludes bibliographical refere nces and index. 1. Lee, Spike- Criticism and interpretation . I. Hamlet, Jan ice D. II . Means Co leman, Robin R. PN 1998.3. L44F54 791.4302'33092-dc22 2008020638 ISBN 978-1-4331-0236-3 Bibliographic information published by Die Deutsche Bibliothek. Die Deutsche Bibliothek lists this publ ication in the " Deutsche Nationalbibliografie"; detailed bibliographic data is avai lab le on the Internet at http://d nb .ddb.de/. Foreword Spike Lee Preface Aud rey Thoma s McCluskey Cover design by Clear Point Designs Acknowledgments X' Introduction XI: The paper in this book meets the guidelines for permanen ce and durability Robin R. Means Coleman and Jan ice D. Hamlet of the Committee on Production Guidelines for Book Longevity of the Council of Library Reso urces. Part 1: Industrializing Social Consciousness 1. The Aesthetics of Nommo in the Films of Spike Lee Rona ld Jemal Stephe ns © 2009 Peter Lang Publishing, In c. , New York 29 Broadway, 18th floor, New York , NY 10006 2. Cultural Engineering and the Films of Spike Lee 23 www. peterlang.com William A. Harris All rights reserved. 3. Po litics, Class and Allegory in Spike Lee' s Inside Man 41 Reprint or reproduction, even partial ly, in all forms such as microfilm, R. Co li n Ta it xe rography, microfiche, microcard, and offset strictly prohibited. 4. Envisioning Race in Spike Lee 's Bamboozled 61 Printed in the United States of America Rachael Ziady DeLue VI I FIGHT THE POWER! THE SPIKE LEE READER CON TENTS I VII 5. Ya Been Took, Ya Been Hoodwinked, Ya Bee n Bamboozled: 17. Subject to Countermemory: Disavowal and Black Manhood Mau Maus, Diaspora, and the Mediated Misrepresentation of Bla cks 89 in Spike Lee's Malcolm X 321 Tracey Owens Patton and Debora h McG riff Maurice E. Stevens 6. Spike's Place 103 Norman K. Denzi n Part IV: Inside Media Mogul Man Part II: The New Race Man: 18. Joints and Jams: Spike Lee as Sellebrity Auteur 345 Andrew deWaard Doing the Right Thing by Any Means Necessary 19. Father, Husband, and Social/ Cultural Critic: An Afrose miotic Ana lysis 7. Athletic Iconography in Sp ike Lee 's Ea rly Feature Fil ms 129 of Children's Books by Spike and Ta nya Lewis Lee 363 Kerr Houston Mark P. Orbe and A. El izabeth Lyons 8. Spike 's Blues: Re-imagining Blues Ideology for the Cinema 147 20. Spike Lee as Entrepreneur: Leveraging 40 Acres and a Mule 383 Mikal J. Gaines Yanick Rice Lamb 9. Which Way to the Prom ised Land? Spike Lee's Clockers and the Legacy of the Africa n American City 171 Filmography: Sp ike Lee: Cultural Provocateur 399 Paula Massood Contributors 407 Index 10. Pass ing for Hu man: Bamboozled and Digita l Humanism 191 4 13 Kara Kee li ng 11. "Say the Right Thing": Spike Lee, Bamboozled, and the Future of Satire in a Postmodern World 203 Phi l Chidester and Jamel Santa Cru ze Be ll 1 2. Sound ing Black: Cu ltural Identifi cation, Sound, and the Films of Spi ke Lee 223 Ellen C. Scott 13. They Hate Me: Spike Lee, Documentary Filmma king, and Hollywood's "Savage Slot" 251 Jasmine Nichole Cobb and John L. Jackson Part Ill: No, Baby, No: Sex, Sexuality, and Gender Roles 14 . Race and Sex in Black and White: Essence and Ideology in the Sp ike Lee Disco urse 273 Ma rk Lawrence McPh ai l 1 5. Spike Lee Constructs th e New Black Man: Mo' Better 287 Sha ron Elise and Adewole Umoja 16. A Critica l Exploration of African American Women Through the "Sp iked Lens" 303 Heather E. Harris and Kimberly R. Moffitt CHAPTER EIGHTEEN Joints AND Jams Spike Lee as Sellebrity Auteur ANDREW DEWAARD n 2003, Viacom announced it would rename its TNN cable network Spike TV. Protesting that this infringed upon his brand name, Shelton Jackson "Spike" I Lee sued. Lee did, in fact, have legal grounds under the "right of publicity" that protects supposed unauthorized commercial appropriations such as these. "People don't realize that I'm a brand," Lee argues, "and all the goodwill that I have invest­ ed in it can be contaminated by 'Spike TV"' (Lee & Fuchs, 2002, p. 288). While the gesture may have been self-aggrandizing (and Lee would later drop the case), it is indicative of the strange new dimension in which Hollywood directors now find themselves. Contemporary cinematic authorship is promoted and highlighted to an unheralded degree, yet earlier arguments for auteurism (as opposition to the stu­ dio system as a means of artistic legitimation) no longer seem to apply. Conventional conceptions of fllin authorship fail to grasp the nuances and complexities of this new context that Lee espouses. Branding and investing are the key words used by Lee here, exemplifYing the transformations that have occurred within Hollywood, thus necessitating new formulations for auteurism. I propose the term seflebrity auteur as a paradoxical concept that signals the complexities and contradictions of contemporary commercial cinematic au thorship. It highlights, on the one hand, the cultural-economic factors in a fllin's creation and the struggle between art and commerce that this process involves; on the other, it acknowledges the need for an analysis of the auteur-as-celebrity, looking at the 346 I PART IV I IN SIDE MEDIA MOGUL MAN JO INTS AN D JAMS I DEWAARD I 347 auteur's brand identity and celebrity cachet as they are exploited both by the auteur (Perren, 2001, p. 30). Allen J. Scott (2004) formulates a tripartite model for ana­ in order to get a fllm made and by the studio in its marketing system. In short, the lyzing Hollywood's new structure: majors, independents, and the newly formed sellebrity auteur injects the consideration of commerce and celebrity into conven­ "major-independents," speciality companies such as Miramax, which focus on tional theories of authorship. While the term auteur can be applied to many dif­ "quality" movies that aspire to the status of"art." In response to a range of newly dis­ ferent authorial "voices" (producer, screenwriter, actor, cinematographer, etc.), in this covered/developed intermediate markets, every major studio (MGM, Paramount, instance, emphasis will be placed on the director. Sony, Fox, Universal, Disney, and Warner Brothers) now has a stable of subsidiaries Spike Lee will prove an exemplary case study for the sellebrity auteur, as he (Miramax, Focus, New Line, etc.) that operate with a high degree of autonomy. occupies a unique position within Hollywood with regard to both economics and As the studio system has given way to the "package" system, most film projects celebrity. As one of the few big-name Mrican American directors in a system still ar~ put together on a one-off basis by varying groups of key creative personnel. In reluctant to cede much control to minorities, Lee's career has been one struggle after this sy~tem, the Hollywood director often operates as a kind of"free agent." In order another to secure funding, especially given his penchant for racially charged sub­ to attam funding and distribution, the director-sometimes aligning with a produc­ ject matter. His production company, 40 Acres & a Mule Filmworks, is a fitting ~r or attached st~r, forming the "package"-pitches a film to a major or major­ example of the way contemporary filmmakers in Hollywood must be heavily mdependent studio. As a free agent, the director must navigate this complex terrain involved in the business end of filln production in order to retain artistic control. of. a~t and co~merce, independent and corporate, art house and mass marketing, Furthermore, this concern for economics is central to Lee's own advocacy for ~mms and maJors. Lee is a stellar example of this negotiation, having worked with Mrican American advancement; namely, more ownership and economic power ~~dependents (Island Pictures, his own production company), mini-majors (New are needed in the Mrican American community. Lee's own increased economic Lme, HBO, Fox Searchlight), and majors (Universal, Warner Brothers, Sony) to power has been due in large part to his skill in branding the Spike Lee name, result­ produce smaller films (She's Cotta Have It, Crooklyn, Bamboozled), indie block­ ing in his transformation into a valuable commodity. From his ability to create con­ busters (Do the R ight Thing,]ungle Fever, H e Got Game), and big-budget blockbusters troversy incessantly to his numerous and various commercial enterprises, Lee has (Malcolm X, Inside Man). It is necessary to keep this shifting playing field in mind exploited his celebrity in order to continue his prolific cinematic output over the as we consider the contemporary auteur, as attending to economic concerns is years. increasingly becoming one of the many responsibilities of the auteur. Before delving into Spike Lee's sellebrity status, a consideration of the contem­ A much-debated theory ever since its development in the 1950s (for an exten­ porary auteur's economic situation requires a brief foray into the economic situa­ sive history, see Caughie, 2001), auteur theory has always been a heavily fragment­ tion ofHollywood itself.
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