Michael Boyce Gillespie
Biographic Data
| ID | 5192851 |
|---|---|
| NAME | Michael Boyce Gillespie |
| GIVEN NAMES | Michael Boyce |
| FAMILY NAME | Gillespie |
| SIGNATURE | GILLESPIE M B |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
“Try To Remember/The Way We Were”
Thinking with Morgan Quaintance's Missing Time (UK, 2019), the article considers the politics of methodology and film analysis for the study of black film. Concentrated on film blackness, the essay explores issues of ambivalence, aesthetics, abstraction, the essay film, experimental cinema, and Cold War historiographies. Thus, the essay seeks to propose alternate values for the study of black film that might give more attention to the formal oper…
An Introduction
Michael Boyce Gillespie introduces the Film Quarterly dossier, Black Infinite: New Directions in Black Film and Media Studies. The five essays that comprise the dossier reflect the vitality and richness of black film and media as objects of study and compel deeper inquiry into the art of blackness
Can’t No Grave Hold My Body Down
The filmmaker Keisha Rae Witherspoon has said, “Film is a type of spell.” In her short film T (2019), she conjures a conceit of how to carry the dead or how to imagine living on with and without them. Set in Liberty City, Miami’s historically black neighborhood, T poignantly stages a notion of memorialization that refigures mourning as incarnation spectacles that refuse to be held suspended by the grief, ache, representational recurrence, and des…
Low Country Lamentations
Michael Boyce Gillespie interviews the multidisciplinary artist Jon-Sesrie Goff about his first feature film, After Sherman. He suggests that the film that can been understood as an inquiry that explores a question that has long preoccupied Goff: “What role does documentary play when it is documented or viewed outside of the experience and space it depicts?” Gillespie argues that After Sherman manifests an answer through its expansive and reflexi…
Thinking about The Underground Railroad
On the occasion of the Amazon Studios release of Barry Jenkins’s The Underground Railroad, a ten-episode adaption of Colson Whitehead’s 2016 novel, FQ board member and frequent contributor Michael Gillespie convened a roundtable with scholars whose work is deeply attentive to the art of blackness, especially regarding literature, television, and cinema. Walton M. Muyumba, Samantha N. Sheppard, and Kristen J. Warner each offers a distinct assessme…
Pressure Drop
Some bodies are deemed as having the right to belong, while others are marked out as trespassers, who are, in accordance with how both spaces and bodies are imagined (politically, historically and conceptually), circumscribed as being “out of place.” Not being the somatic norm, they are space invaders.—Nirmal PuwarIdentity is not as transparent or unproblematic as we think. Perhaps instead of thinking of identity as an already accomplished fact, …
The Train Is Always Leaving
Director Barry Jenkins’s body of work to date demonstrates an exquisite devotion to the art of blackness as an aesthetic and cultural practice. On the occasion of Jenkins’ latest work—the television adaptation of Colson Whitehead’s 2016 book, The Underground Railroad—Film Quarterly contributor Michael Gillespie speaks with Jenkins about his craft, his process, and his acutely cinephilic attention to black visual and expressive culture. The series…
Black One Shot and the Art of Blackness
This essay reflects on the impulses, aspirations, and process of an online art criticism series called Black One Shot, which ran in 2018 and 2020 on ASAP/J, the open access journal for the Association for the Study of Arts of the Present (ASAP). Sourcing visual and epistolary materials from the series’ production, the coeditors revisit their collaborative effort to discern blackness and pursue object-forward art criticism without foreclosures and…
Thinking about Watchmen
Michael Boyce Gillespie leads a roundtable with scholars Jonathan W. Gray, Rebecca A. Wanzo, and Kristen Warner to discuss issues of medium, genre, fandom, and African American history in the highly regarded HBO series Watchmen. Characterizing the HBO series as a disobedient adaptation that modifies, extends, and redirects the world making of its source material—the famed twelve-issue comic-book series of the same name, written by Alan Moore and …
Black One Shot and the Art of Blackness
This essay reflects on the impulses, aspirations, and process of an online art criticism series called Black One Shot, which ran in 2018 and 2020 on ASAP/J, the open access journal for the Association for the Study of Arts of the Present (ASAP). Sourcing visual and epistolary materials from the series’ production, the coeditors revisit their collaborative effort to discern blackness and pursue object-forward art criticism without foreclosures and…
Thinking about Watchmen
Michael Boyce Gillespie leads a roundtable with scholars Jonathan W. Gray, Rebecca A. Wanzo, and Kristen Warner to discuss issues of medium, genre, fandom, and African American history in the highly regarded HBO series Watchmen. Characterizing the HBO series as a disobedient adaptation that modifies, extends, and redirects the world making of its source material—the famed twelve-issue comic-book series of the same name, written by Alan Moore and …
Thinking about The Underground Railroad
On the occasion of the Amazon Studios release of Barry Jenkins’s The Underground Railroad, a ten-episode adaption of Colson Whitehead’s 2016 novel, FQ board member and frequent contributor Michael Gillespie convened a roundtable with scholars whose work is deeply attentive to the art of blackness, especially regarding literature, television, and cinema. Walton M. Muyumba, Samantha N. Sheppard, and Kristen J. Warner each offers a distinct assessme…
Pressure Drop
Some bodies are deemed as having the right to belong, while others are marked out as trespassers, who are, in accordance with how both spaces and bodies are imagined (politically, historically and conceptually), circumscribed as being “out of place.” Not being the somatic norm, they are space invaders.—Nirmal PuwarIdentity is not as transparent or unproblematic as we think. Perhaps instead of thinking of identity as an already accomplished fact, …
The Train Is Always Leaving
Director Barry Jenkins’s body of work to date demonstrates an exquisite devotion to the art of blackness as an aesthetic and cultural practice. On the occasion of Jenkins’ latest work—the television adaptation of Colson Whitehead’s 2016 book, The Underground Railroad—Film Quarterly contributor Michael Gillespie speaks with Jenkins about his craft, his process, and his acutely cinephilic attention to black visual and expressive culture. The series…
Black One Shot and the Art of Blackness
This essay reflects on the impulses, aspirations, and process of an online art criticism series called Black One Shot, which ran in 2018 and 2020 on ASAP/J, the open access journal for the Association for the Study of Arts of the Present (ASAP). Sourcing visual and epistolary materials from the series’ production, the coeditors revisit their collaborative effort to discern blackness and pursue object-forward art criticism without foreclosures and…
Low Country Lamentations
Michael Boyce Gillespie interviews the multidisciplinary artist Jon-Sesrie Goff about his first feature film, After Sherman. He suggests that the film that can been understood as an inquiry that explores a question that has long preoccupied Goff: “What role does documentary play when it is documented or viewed outside of the experience and space it depicts?” Gillespie argues that After Sherman manifests an answer through its expansive and reflexi…
An Introduction
Michael Boyce Gillespie introduces the Film Quarterly dossier, Black Infinite: New Directions in Black Film and Media Studies. The five essays that comprise the dossier reflect the vitality and richness of black film and media as objects of study and compel deeper inquiry into the art of blackness
Can’t No Grave Hold My Body Down
The filmmaker Keisha Rae Witherspoon has said, “Film is a type of spell.” In her short film T (2019), she conjures a conceit of how to carry the dead or how to imagine living on with and without them. Set in Liberty City, Miami’s historically black neighborhood, T poignantly stages a notion of memorialization that refigures mourning as incarnation spectacles that refuse to be held suspended by the grief, ache, representational recurrence, and des…
“Try To Remember/The Way We Were”
Thinking with Morgan Quaintance's Missing Time (UK, 2019), the article considers the politics of methodology and film analysis for the study of black film. Concentrated on film blackness, the essay explores issues of ambivalence, aesthetics, abstraction, the essay film, experimental cinema, and Cold War historiographies. Thus, the essay seeks to propose alternate values for the study of black film that might give more attention to the formal oper…
Art (8 works) · Art history (8 works) · Cinema and Media Studies (6 works) · Sociology (6 works) · History (5 works) · Visual arts (5 works) · Law (4 works) · Literature (4 works) · Philosophy (4 works) · Politics (4 works)