DEFINING BLACK FILM BY KYLE GRAHAM 1
Defining Black FilmThe factors most important to the movie-going public in
categorizing black films
Kyle Graham [email protected]
COM 495 Capstone Professor Padgett
Abstract
2 DEFINING BLACK FILM BY KYLE GRAHAM
Over the course of the last century, the genre has changed, and has currently entered a
renaissance period. This research examined various articles on black film, and analyzed an
online survey of 301 respondents on the factors that define black film. The aim of this research
was to create a definition of what a black film is according to the movie-going public. To be
categorized as a black film a movie must have a storyline that has an authentic connection to the
black experience. It is essential that the film have the ability to relate and connect to audiences
at a cognitive and visceral level. Additionally the prominence of black actors and/or actresses is
needed to tell the story because without them it would be a completely different film. In some
cases, the narrative could not be told without them.
I. Introduction
Black films have been produced for nearly a century. From the early works of Oscar
Micheaux to the modern day black produced films, there has been a clear evolution in public
reception to black films, the quality of these films, and the type of stories that are told.
Despite the success rate, it has become evident within the year of 2013 alone, that black films
are on the rise in the mainstream film industry. For well over 100 years, motion pictures have
illuminated screens, and have touched on a multitude of subjects and themes. Some films are
looked at through a different scope, and black films are a prime example. Unlike many other
films, black films are not automatically categorized into different genres. First they are
placed under the umbrella term “black films,” and they are later broken down into different
sub-genres. At surface level this may seem like another method of defining film categories,
but what exactly gets a film placed under the overarching scope of a black film?
Because there is no standard definition of a black film, it is difficult to decipher what films
should or should not be considered a black film. There are numerous factors that could be
DEFINING BLACK FILM BY KYLE GRAHAM 3
considered in determining whether a film is classified as a black film. Some of these elements
could include the race of the director, principal actors, or screenwriter, the storyline of the film,
the quality of the film, and advertisement of the film. With all of these factors, are there some
that are more important than others?
Some movie watchers believe the race of the director to be the most important factor, while
others believe the plot to be the more essential. The director is often considered an important
factor because he or she is the visionary of the film. It is the director’s job to translate the words
of the script into a film that will captivate audiences. Others consider the plot to be more
important because a black story can be told regardless of who is directing the film. Without the
plot there would be no film to make. This research is designed to decipher exactly what factors
the public believes to be the most important in classifying a black film, and in turn create a
conclusive definition for black films.
II. Literature Review
In the following literature review the author reviewed articles on various aspects of black
cinema, including the importance of directors, importance of the storyline, and the growth in
number of black films in the current market.
The categorization of movies as black or non-black films creates an extremely exclusive
environment. Are there some requirements that a film must meet in order to be considered a
black film? Do some of these requirements have more merit than others? The problem at hand is
creating a way to categorize black films in a way that takes into account a multitude of factors.
There are too many hypothetical situations that arise when looking at films on an individual
basis. Should movies such as Obsessed, a 2009 remake of Fatal Attraction starring Idris Elba
4 DEFINING BLACK FILM BY KYLE GRAHAM
and Beyoncé Knowles be considered a black film? Are movies that promote and profit from
stereotypical depictions of African Americans black films? There may not be a definitive answer
to this question due to a wide variety of personal opinions. What one-person values will
assuredly differ from another, and that one difference could change their entire definition.1
IMPORTANCE OF THE DIRECTOR
There is a growing trend in Hollywood of hiring white filmmakers to tell black stories. The
obvious absence of black input on the creation of these “black films” is abundantly clear in the
final product. It is hard to imagine how a film about a distinctly black experience can be told
with little to no creative contribution from African Americans.
There seems to be a belief that black films are entering a second coming of the Al Jolson era.
Jolson was the star of the first “talkie film,” The Jazz Singer in 1927, and is infamous for
donning blackface in several of his films. Hollywood executives are beginning to realize that
there is some merit to black films, however, there is still some apprehension in allowing African
Americans the right to tell the stories of their people. To curtail this trepidation, producers place
white filmmakers in charge.
Despite this practice, there are some white filmmakers who have realized the importance of
African American input when attempting to tell a black story. In his 1985 film The Color Purple,
Caucasian director Steven Spielberg hired Quincy Jones as a producer to give the black story an
actual black perspective. The film was based on a novel by Alice Walker, and without the input
1 Abukú, Ben. "What Is ‘Black Cinema’? Have You Ever Wondered?" FilmClique. N.p., 5 Oct. 2011. Web. 17 Oct. 2013. http://filmclique.com/2011/what-is-black-cinema-have-you-ever-wondered/.
DEFINING BLACK FILM BY KYLE GRAHAM 5
of Jones (a long-time entertainment industry veteran) it could have gone in a completely different
direction and changed the significance and value of the story.
Yet, the importance of including input from African Americans when creating black films is
undervalued by Hollywood. There are cultural tones and understandings that go without being
said in the black community that individuals of other races would struggle to understand. This
inability to understand these differences translates directly to the final product of many films.2
More than two decades ago, the Pulitzer Prize winning playwright August Wilson struggled
to convince a major Hollywood studio that a black director was necessary to adequately depict
his story, Fences. Despite popular belief in the Hollywood studio system, black directors were
and still are more than capable of directing larger budget films. For example in 1992, John
Singleton became the youngest and first African American to be nominated for the Oscar for best
director, for his film Boyz In The Hood (1991). Wilson wasn’t lobbying for any black director; he
needed someone who could produce quality work.
Wilson demanded a black director for this film because there is a certain intangible that other
races lack. This is the understanding, and ability to translate black culture; one that has been
cultivated through generations since the era of slavery. Although black culture is culmination of
varying aesthetic values and beliefs, there are commonalities that black Americans share, and are
able to understand without talking about them. As much as someone from another culture may
try to understand, they will never be able to experience the full connection that someone of the
2 Singleton, John. "Can a White Director Make a Great Black Movie? (Guest Column)."The Hollywood Reporter. N.p., 9 Sept. 2013. Web. 17 Oct. 2013. http://www.hollywoodreporter.com/news/john-singleton-can-a-white-630127.
6 DEFINING BLACK FILM BY KYLE GRAHAM
same culture and race shares. In order for a true black story to be depicted, it has to be directed
by someone who truly understands black culture, and the black psyche.3
IMPORTANCE OF THE STORYLINE
The Help (2011) is a film adapted from a novel by the same name. The film takes place in
Jackson, Mississippi during the 1960s, an era that witnessed great civil and racial injustice. Over
the course of the film, a young white female writer tells the untold stories of black domestic
women.
To some individuals, The Help is a black film, and to others it is not. The film featured a
white director (Tate Taylor), but it also had a mix of quality principal actresses both black and
white. Where this film fell short of being considered a black film, was the authenticity of the
storyline. Although it featured a topic that is not often discussed, the primary focus was on the
white woman who sympathized with the black maids and her relationships with other white
women. The purpose of this film was to tell a typically untold story, but the makers almost lost
sight of this. In the movie trailer alone, the tone of the film is clear. The story was dominated by
the triumphs of Skeeter (played by Emma Stone), who comes down from her college educated
pedestal to lift up the voice of the black domestic, who was constantly ignored, abused and taken
for granted. Eventually the black maids gave in to Skeeter’s desire to tell their stories, despite
the dangerous implications. By the end of the film, women both black and white came together.
It should be noted that the film was based on a fictional novel, by Kathryn Stockett. From a
strictly historical standpoint, it is nearly impossible to fathom black women risking their
livelihoods and possibly their lives in 1960s, Jackson, Mississippi to tell their stories to a young
3 Wilson, August. "I Want a Black Director!" Spin Magazine Oct. 1990: n. pag. Spin Magazine. The Obenson Report, Dec. 2008. Web. 4 Nov. 2013. http://obensonreport.blogspot.com/2008/02/i-want-black-director.html
DEFINING BLACK FILM BY KYLE GRAHAM 7
white writer. It is equally hard to believe that such radical changes could happen so quickly in a
small race oriented town. The trouble with this film was that it trivialized the black experience.
These happy endings were quite seldom in the Jim Cow South, however films such as The Help
convince the public that they were the norm.4
THE POWER OF MONEY
Lee Daniels’ The Butler (2013) was one of the most well known “black films” of the year.
However, if you look past the surface level of this film, can it truly be considered black? It is true
that the film had a black director, and predominately black cast, but that is about as much black
involvement there was in the film. In 2009, Danny Strong, a Caucasian male was hired to write
the script. This was a year before Lee Daniels became the films director. The film was shown in
nearly 3,330 theaters and made more than $100 million. This widespread distribution was made
possible by Harvey Weinstein (Co-Chairman) and David Glasser (COO) of the Weinstein
Company, which owns the distribution rights. The great majority of the 41 executive producers
and producers of the film who helped raise the $30 million budget were Caucasian. The
distributors and producers of the film stand to make the most money from the box-office returns.
With the lack of African American involvement on the investment side of the film, it is hard to
imagine how much control blacks actually had on the film. The film did have a black director
and actors, but the real control is in the hands of those with the money.5
4 O'Malley, Sheila. "'The Help': A Movie about a White Woman Who Told the Story of the Suffering of Black Women." Capital. Capital New York, 9 Aug. 2011. Web. 04 Nov. 2013. http://www.capitalnewyork.com/article/culture/2011/08/2916584/help-movie-about-white-woman-who-told-story-suffering-black-women.
5 "Is “Lee Daniels’ The Butler” (Really) A “Black Movie?”." Racism Is White Supremacy. N.p., 17 Aug. 2013. Web. 7 Nov. 2013. http://racismws.com/2013/08/17/is-lee-daniels-the-butler-really-a-black-movie/.
8 DEFINING BLACK FILM BY KYLE GRAHAM
II. Methodology
The goal of this study was to gain a clear understanding of the factors the movie- going
public believed were most important in defining a black film. Data were collected through an
online survey (conducted through SurveyMonkey), which was active for 14 days. The 15 minute
long survey was made public to 1,328 Facebook friends of the researcher who were then
requested to disperse the survey to their own friends. To reach a different demographic the
survey was sent via email with the same request to adult family members and friends who were
many years removed from college. Prior to taking the survey, participants were instructed on the
aim of the study and given the opportunity not to take the survey. 301 individuals completed the
survey.
III. Results
The survey was designed to discover what the movie-going public believed to be the most
important factors in determining whether or not a film should be considered a black film. The
first question of the survey asked how frequently respondents watched movies. The researcher
wanted to see if the frequency in which individuals watch films made a difference in their
decision as to whether a movie was considered a black film.
Figure 1: How often do you watch movies? (Through any venue or method)
DEFINING BLACK FILM BY KYLE GRAHAM 9
The data showed that 51.1% (153 respondents) of survey takers watched movies at least once
per week or more. Only 27.4% (82 respondents) watched movies several times per year or less.
Upon comparing data from this question with the answers from several questions that appear
later in the survey, it is evident that the frequency in which an individual watches movies does
not make a difference in their decision process.
Question two was created to see if respondents believe that there is a category of movies
known as black films. Due to the fact that the basis of the research was to create a definition for
black films, the researcher needed to discern whether the survey takers believed there was a sub-
category of film.
Figure 2: Do you believe there is a category of movies known as black films?
10 DEFINING BLACK FILM BY KYLE GRAHAM
Of the 301 survey respondents, 87.9% (262 people) believed that there was a category of
movies known as black films, while 12.1% (36 people) did not think that there was such a
category. With the great majority of participants answering yes to this question, it can be
assumed that to the public black film is a category of film. Question three was asked to discover
why respondents gave their answers in question two. Of the 298 respondents that answered
question two, 293 answered question three. Participants gave a variety of answers, and many of
them centered on several of the factors presented later in the survey such as the race of the
director or actors, or the storyline of the film. Other reasons included focusing on black culture,
life, and history.
Question four was asked to see what factors stood out the most when respondents classified
movies as black films or not. 59.5% (179 people) decided that the storyline of the film was
DEFINING BLACK FILM BY KYLE GRAHAM 11
highly important, and 53.9% (53.9 people) of the 297 respondents that rated principal actors
found this factor to be highly important. The producers, screenwriters, and film advertisement/
coming attractions had the lowest average ratings. 25 survey respondents wrote in several other
factors they believed to be important. Some of these factors included; the intended audience,
distribution, source of funding, and control of content.
Figure 4: On a scale of 1 to 5 (one being the least important and 5 the most important),
what is the importance of these factors in defining a black film?
This question was pertinent for the researcher to establish a clear understanding of what factors
stand out the most. From this the data, the researcher was able to establish a basis for the final
definition.
12 DEFINING BLACK FILM BY KYLE GRAHAM
In question five, participants were presented with a list of 10 varying films, and asked
whether they considered each a black film. Based on individual definitions of what a black film
is, each film could possibly be categorized as a black film. The researcher purposely selected
several films that people may not initially consider a black film, but upon further inquiry might
realize that each film had one or more of the necessary factors. Despite the original thought
process of the researcher, respondents did not agree. The majority of the films were voted to not
be black films. These films included The Help (49.2% no, 42.4% yes, 8.5% not sure), Django
Unchained (48.3% no, 37.3% yes, 14.4% not sure), Training Day (62.4% no, 14.5% yes, 23.1%
not sure), Driving Miss Daisy (68.7% no, 17.5% yes, 13.7% not sure), Glory (43.1% no, 38.6%
yes, 20.1% not sure), and A Time to Kill (50.9% no, 15.3% yes, 33.8% not sure). At 43.7%,
Beasts of the Southern Wild was the only film that the majority of respondents were not sure how
to categorize (22% yes, 34.3% no). Of the 10 movies, only Madea Goes to Jail (84% yes, 7.2%
no, 8.9% not sure), School Daze (71.6% yes, 6.9% no, 21.5% not sure), and Fruitvale Station
(47.6% yes, 20.5% no, 31.9% not sure) were voted as black films.
Question six was designed to gain a better understanding of the decisions participants made
in question five. The researcher utilized the same factors that were presented in question four. By
an extremely wide margin, the storyline of the film was the most important deciding factor in 9
of the 10 films. Training Day was the only film where principal actors were the most important
factor. For the 9 films where the storyline was the most important factor, principal actors were
the second most important factor. The director of the film was significant for two films, Madea
Goes to Jail and School Daze, both of which featured two prominent African American directors
(Tyler Perry and Spike Lee respectively).
DEFINING BLACK FILM BY KYLE GRAHAM 13
Figure 5: Would you consider the following movies a black film?
The researcher utilized question seven to see what films stood out to the respondents.
Participants were asked to provide their best example of a black film. Among the 301
respondents, there were a wide variety of films from multiple time periods. The top five movies
that were cited were Tyler Perry’s Madea series with 40 mentions, Lee Daniels’ The Butler (19
mentions), The Color Purple (18 mentions), Shaft (12 mentions), and Malcolm X (10 mentions).
Similar to question six, question eight was asked to gain a greater understanding of why
participants chose their movies. The researcher allowed the participants to answer this question
in paragraph form instead of forcing respondents to choose specific criteria. Many participants
14 DEFINING BLACK FILM BY KYLE GRAHAM
stated that the storyline of the film was a pertinent factor in making their decision. The fact that
the films were centered on black experiences and culture was important. Other respondents noted
that the film they chose depicted stereotypical black life, and oppositely some chose films that
told positive black stories.
The final four questions identified demographic information. Question 9 asked the gender of
the participants. Females accounted for the majority of survey participants at 67.1% (202
respondents) and males made up 32.9% (99 respondents). Question 10 asked the age of
respondents. There range of survey participants was from below twenty years old to seventy and
above. The largest age group was 20-29, representing 27.2% (82 respondents) of all survey
takers. The next largest age group was 50-59, which accounted for 25.2% (76 respondents), and
the third largest group was 60-69, which had 22.3% (67 respondents) of participants. This can be
attributed to the researcher distributing the survey to college age students, and other Generation
Y individuals. The older demographic can be attributed to the older survey takers that dispersed
the survey to their peers and collogues.
Figure 6: Age?
DEFINING BLACK FILM BY KYLE GRAHAM 15
Question 11 was designed to gauge the level of education of the participants. The researcher
wanted to see if level of education made a difference in the decision making process. 60.3% (181
respondents) of survey participants hold graduate level or professional degrees. College
graduates were the second largest represented group at 22% (66 respondents), and some college
represented 16.3% (49 respondents). This demographic question shows that the majority of
survey respondents are well educated.
Figure 7: Level of education?
16 DEFINING BLACK FILM BY KYLE GRAHAM
The final question of the survey asked survey participants for their racial identity. 291 of the
301 respondents answered this question. Of the 291 answers, 70.7% (206 respondents) identified
as black. Caucasians accounted for 17.8% (52 respondents) of survey takers. It is possible that
the lack of racial diversity in the survey population could have skewed the results of the study.
IV. Discussion
While designing the survey, the researcher believed that the frequency in which participants
watched movies might make a difference in their choices made throughout the survey. An
individual who watches movies on a relatively regular basis may have a different and more
educated opinion. Upon reviewing the answers of respondents, it became apparent that there was
no notable difference in answers. Individuals who watch movies about once a week answered
similarly to participants who only watched movies several times per year.
DEFINING BLACK FILM BY KYLE GRAHAM 17
Of the 293 responses to question three (give one main reason for your response in question
two- Do you believe there is a category of movies known as black films?), there were several
answers that stood out to the researcher. A college educated black female, age 40-49 stated,
“There is a mindset as to how black people in general are viewed globally. In other words, it's a
certain type of culture that some black people have that tends to dictate their thoughts, words,
and actions/ behaviors which makes black people unique in their own category.” This viewpoint
was similar to several other participants. They acknowledged the idea that there is a distinctive
difference in everyday black life and culture that sets these “black films” apart from other film
genres. Another respondent, a graduate/professionally educated black female, age 50-59 said, “In
some cases I consider a black film to be a film that focuses on issues that resonate with the black
community, regardless of the make-up (percentage) of black characters within the film.” The
idea that black films are centered on issues that occur in the black community is significant. This
is the reason that storyline of the film was the most important factor to survey participants.
Audiences are more willing to support films when they feel a connection to a given movie. This
is the reason why black films often times succeed in black communities, but aren’t always
topping box- offices (with a few exceptions). One final memorable response came from a college
educated white/ Native American female, age 50-59 who said, “Black films often explore
themes not represented very well in "mainstream" media. Also, often have more than the average
film's worth of black actors, often have black directors, again, executing a different angle, or
viewpoint than much of what is portrayed in mainstream media.” It is important to acknowledge
that this respondent wrote about exploring themes not well represented in “mainstream” media.
Due to the fact that blacks are an underrepresented group in the media, especially the film
industry, black films stand out.
18 DEFINING BLACK FILM BY KYLE GRAHAM
The storyline of the film was the most important factor to survey respondents. 59.5% (179
respondents) of all participants ranked this factor as a 5 (i.e. most important). The storyline is
pertinent in classifying a black film because without it, the movie would just be another
“mainstream” film. It is a necessity to have a connection to black culture through the storyline.
The storyline sets the tone for the movie, establishes a connection with the audience, and attracts
the audience. Survey respondents who rated the storyline of the film a 5, viewed more of the
example films as black films. These 179 participants believed the following six movies were
black films; The Help (50.6%), Madea Goes to Jail (83.2%), School Daze (81.1%), Django
Unchained (43.3%), Glory (47.4%), and Fruitvale Station (55.5%). This is quite different from
the thought process of the total survey group who decided that only three of these six movies
were actually black films; Madea Goes to Jail, School Daze, and Fruitvale Station. This stark
difference shows the importance of the storyline in classifying a film. Based on storyline alone,
many more of these movies would be considered black films, but one factor alone cannot define
a film.
Principal actors were the second most important factor to respondents. 53.9% (160
respondents) of the 297 participants that ranked this factor scored it as a 5. Principal actors are
important in classifying a film because they are the face of the movie, and they bring the script to
life. Without the actors, the storyline would just be an idea. The primary actors in a film are one
of the main driving forces to get audiences into movie theaters. Some people will go to see any
film that has “X” actor/actress in it just because they are loyal fans. Survey respondents who
rated the principal actors a 5, viewed less of the example films as black films (in comparison to
storyline of film). These 160 participants believed that only four movies could be considered
black films; Madea Goes to Jail (86.6%), School Daze (81.3%), Glory (41.7%), and Fruitvale
DEFINING BLACK FILM BY KYLE GRAHAM 19
Station (53.9%). Of these films, three of them had majority black casts (Madea Goes to Jail,
School Daze, and Fruitvale Station). Glory had a mixed cast, however, Denzel Washington and
Morgan Freeman (two of the most prominent black actors over the past several decades) were in
leading roles.
The researcher originally believed that the director would be an important factor, however,
this was not necessarily the case. Of the 297 participants that ranked the director, 23.6% (70
respondents) ranked the factor as a 5. Of the 10 example films, four had black directors. They
included; Madea Goes to Jail (Tyler Perry), School Daze (Spike Lee), Training Day (Antoine
Fuqua), and Fruitvale Station (Ryan Coogler). Although there have been black directors since
the early days of film (i.e. Oscar Micheaux), there has been a great reluctance from the major
film studios to relinquish directing powers to blacks. Just a few decades ago, there were only a
few notable black directors. In recent years, the black movie industry has come into a
renaissance period, where more black directors are being given the opportunity to direct major
films. In 2013 alone several black directed films such as Lee Daniels’ The Butler (Lee Daniels),
Fruitvale Station (Ryan Coogler), and 12 Years a Slave (Steve McQueen) have received critical
acclaim.
Outside of the notable films, many of the movies cited in question seven have become cult
classics. John Singleton’s 1991 classic Boyz in the Hood was mentioned 9 times, Spike Lee’s
Malcolm X (10 mentions), and Forest Whitaker’s Waiting to Exhale (4 mentions). Over the
years, these films have told some of the stories that the black community experiences. It was the
sense of authenticity that allowed audiences to connect to these stories. Other respondents chose
films that portrayed blacks in a positive light. A graduate/ professionally educated black female,
aged 20-29 chose Denzel Washington’s The Great Debaters (2007). In her reasoning, this
20 DEFINING BLACK FILM BY KYLE GRAHAM
respondent stated, “Great Debaters is a ‘black film’ that tells the story of young black scholars
from Wiley College. It has a large Black cast and has a superb Black Director, Denzel
Washington. It gives Black people a positive outlook on themselves and it leaves the viewer with
a sense of hope.” This respondent appreciated the redeeming qualities of this film, and the fact
that it did not portray the stereotypes that are all too prevalent in many other films. Another
respondent, a college educated black female, aged 20-29 chose Jessy Terrero’s Soul Plane. This
participant had an intriguing explanation for her choice.
Unfortunately not the best example, but I think that movies like Soul Plane are
specifically geared towards black people. I often find that black movies really
play up terrible stereotypes and while they may not be a part of it, continue to
support blaxploitation.
This explanation brought up the idea that some black films increase the amount of stereotypes in
as a way to cater to a specific audience. Although these negative stereotypes may not be positive
for black people, they have the ability to assist in box-office sales.
It is possible that due to the lack of diversity in the demographic breakdown of the survey
population that some of the findings may be skewed. Typically men and women frequent
different types of films. This could mean that opinions on some films, or film examples could
have been left out. There was an excellent representation of different age groups in the survey
population. The method in which the survey was dispersed is the clear reason for the larger
sample groups at certain ages. However, this did not skew the data in a negative way. In fact, the
diversity in ages, allowed for a greater field of perspectives, fueled by different experiences.
Level of education made a difference in the decision making process for some respondents.
In comparing the responses of graduate/ professionally educated respondents and participants
DEFINING BLACK FILM BY KYLE GRAHAM 21
with some college, there was a noticeable difference. The graduate/ professionally educated
group found three of the example movies to be black films, six to not be black films, and were
not sure about one. The respondents with some college found two of the movies to be black
films, three were not, and were not sure about five. It is unclear whether level of education is the
only factor that led to this difference. Other factors could include age, and the numbers of
example films respondents have seen.
The great majority of survey respondents were black. Although this may skew the data, it
also shows the preferences and thought processes of the individuals who are the primary
audience for black films.
V. Conclusion
This research found that according to the movie-going public there is a category of movies
known as black film. From this basis, the researcher was able to establish that there are several
key factors in the categorization of a black film. By a clear margin, the two most important
aspects to the movie going public were the storyline of the film and the principal actors. To a
somewhat lesser degree the race of the director also played a significant role.
The movie going public is a wide audience, and the survey population is only a small
representation of that audience. Based on the findings of the study, the researcher was able to
create a definition of black film. Despite this, the definition of what constitutes a black film is
not a simple answer. The results suggested that there were two main criteria for the definition:
First a film must have a storyline that has an authentic connection to the black experience. It is
essential that the film has the ability to relate and connect to audiences at a cognitive and visceral
level. Additionally the prominence of black actors and/or actresses is needed to tell the story
22 DEFINING BLACK FILM BY KYLE GRAHAM
because without them it would be a completely different film. In some cases, the narrative could
not be told without them.
Bibliography:
DEFINING BLACK FILM BY KYLE GRAHAM 23
Abukú, Ben. "What Is ‘Black Cinema’? Have You Ever Wondered?" FilmClique. N.p., 5 Oct. 2011. Web. 17 Oct. 2013. http://filmclique.com/2011/what-is-black-cinema-have-you-ever-wondered/.
O'Malley, Sheila. "'The Help': A Movie about a White Woman Who Told the Story of the Suffering of Black Women." Capital. Capital New York, 9 Aug. 2011. Web. 04 Nov. 2013. http://www.capitalnewyork.com/article/culture/2011/08/2916584/help-movie-about-white-woman-who-told-story-suffering-black-women.
Singleton, John. "Can a White Director Make a Great Black Movie? (Guest Column)."The Hollywood Reporter. N.p., 9 Sept. 2013. Web. 17 Oct. 2013. http://www.hollywoodreporter.com/news/john-singleton-can-a-white-630127.
Wilson, August. "I Want a Black Director!" Spin Magazine Oct. 1990: n. pag. Spin Magazine. The Obenson Report, Dec. 2008. Web. 4 Nov. 2013. http://obensonreport.blogspot.com/2008/02/i-want-black-director.html.
"Is “Lee Daniels’ The Butler” (Really) A “Black Movie?”." Racism Is White Supremacy. N.p., 17 Aug. 2013. Web. 7 Nov. 2013. http://racismws.com/2013/08/17/is-lee-daniels-the-butler-really-a-black-movie/.
Appendix:
24 DEFINING BLACK FILM BY KYLE GRAHAM
THE FACTORS IN DEFINING A BLACK FILM
The survey is anonymous. The researcher has decided to conduct an assessment of the factors that the movie-watching public believes define a black film. At any time you have the option to opt out of the survey.
1. How often do you watch movies? (Through any venue or method)
- Never - A few times per year- Several times per year- About once per month- About once per week- More than once per week
2. Do you believe there is a category of movies known as black films?
- Yes- No
3. Give one main reason for your response in question #2.
4. On a scale of 1 to 5 (one being the least important and 5 the most important), what is the importance of each of these factors in defining a black film?
1 2 3 4 5 Don’t Know
Storyline of the film
Producer(s)
Director
Principal Actors
Screenwriter(s)
Film Advertisement/ Coming Attraction
Other
If other, please specify:
5. Would you consider the following movies a black film?
DEFINING BLACK FILM BY KYLE GRAHAM 25
Yes No Not Sure
Beasts of the Southern Wild
Django Unchained
Training Day
Glory
The Help
Driving Miss Daisy
Madea Goes to Jail
School Daze
A Time to Kill
Fruitvale Station
26 DEFINING BLACK FILM BY KYLE GRAHAM
6. For the movies you checked yes in question 5, what factors defined each as a black film for you (check all that apply)
Storyline of the film
Producer(s)
Director
Principal Actors
Screenwriter(s)
Quality of film
Film Advertisement/ Coming Attractions
Other
The Help
School Daze
Glory
Django Unchained
Training Day
Beasts of the Southern Wild
Fruitvale Station
A Time to Kill
Madea Goes to Jail
Driving Miss Daisy
If Other, please specify
7. Provide your own best example of a black film.
8. Why did you choose the film in question #7?
DEFINING BLACK FILM BY KYLE GRAHAM 27
9. Gender?- Male- Female
10. Age? - Below twenty- 20-29- 30-39- 40-49- 50-59- 60-69- 70 and above
11. Level of education?- Some high school- Completed high school- Some college- College degree- Graduate/ Professional degree- Other (please specify)
12. What race do you identify with?