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008    180213p20181995cau088        o   vleng d 
028 52 1116234|bKanopy 
035    (OCoLC)1032587164 
040    UtOrBLW|beng|erda|cUtOrBLW 
245 00 Black is black ain't.|h[Kanopy electronic resource] 
264  1 |bCalifornia Newsreel,|c1995. 
264  1 [San Francisco, California, USA] :|bKanopy Streaming,
       |c2018. 
300    1 online resource (streaming video file) (89 minutes):
       |bdigital, .flv file, sound 
306    012805 
336    two-dimensional moving image|btdi|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
344    digital 
347    video file|bMPEG-4|bFlash 
500    Title from title frames. 
518    Originally produced by California Newsreel in 1995. 
520    The final film by filmmaker Marlon Riggs, Black is ... 
       black ain't, jumps into the middle of explosive debates 
       over Black identity. Black is ... black ain't is a film 
       every African American should see, ponder and discuss. 
       White Americans have always stereotyped African Americans.
       But the rigid definitions of "Blackness" that African 
       Americans impose on each other, Riggs claims, have also 
       been devastating. Is there an essential Black identity? Is
       there a litmus test defining the real Black man and true 
       Black woman? Riggs uses his grandmother's gumbo as a 
       metaphor for the rich diversity of Black identities. His 
       camera traverses the country, bringing us face to face 
       with Black folks young and old, rich and poor, rural and 
       urban, gay and straight, grappling with the paradox of 
       numerous, often contested definitions of Blackness. Riggs 
       mixes performances by choreographer Bill T. Jones and poet
       Essex Hemphill with commentary by noted cultural critics 
       Angela Davis, bell hooks, Cornel West, Michele Wallace, 
       Barbara Smith and Maulana Karenga to create a flavorful 
       stew of personal testimony, music, and history. While 
       Black is ... black ain't rejoices in Black diversity, many
       speakers bare their pain at having been silenced or 
       excluded because they were perceived as "not Black enough"
       or conversely "too Black." Black is ... black ain't 
       marshals a powerful critique of sexism, patriarchy, 
       homophobia, colorism and cultural nationalism in the Black
       family, church and other Black institutions. Cornel West 
       concludes, "We've got to conceive of new forms of 
       community. We each have multiple identities and we're 
       moving in and out of various communities at the same time.
       There is no one grand Black community." Riggs' own urgent 
       quest for self-definition and community, as a Black gay 
       man dying from AIDS, ties the multiple perspectives 
       together. Hooked up to an IV in his hospital bed, Riggs 
       takes strength for his struggle against AIDS from the 
       continual resilience of the African Americans in the face 
       of overwhelming oppression. As his death nears, he 
       conjures up the image of a Black community nurturing and 
       celebrating the difference and creativity in each one of 
       us. 
538    Mode of access: World Wide Web. 
650  0 Racism. 
650  0 African Americans|xColor|xSocial aspects. 
650  0 Ethnicity. 
650  0 African Americans|xRace identity. 
650  0 African American gays. 
650  0 Documentary films. 
655  7 Documentary films.|2lcgft 
700 1  Riggs, Marlon T.,|efilmmaker. 
700 1  Jones, Bill T.,|echoreographer. 
700 1  Davis, Angela,|ecommentator. 
700 1  hooks, bell,|ecommentator. 
700 1  West, Cornel,|ecommentator. 
700 1  Wallace, Michele,|ecommentator. 
700 1  Smith, Barbara,|ecommentator. 
700 1  Karenga, Maulana,|ecommentator. 
710 2  California Newsreel (Firm),|4dst 
710 2  Kanopy (Firm),|4dst 
856 40 |uhttps://naperville.kanopy.com/node/116235|zAvailable on 
       Kanopy 
856 42 |zCover Image|uhttps://www.kanopy.com/node/116235/external
       -image