Ayanna Dozier
Biographic Data
| ID | 6533704 |
|---|---|
| NAME | Ayanna Dozier |
| GIVEN NAMES | Ayanna |
| FAMILY NAME | Dozier |
| SIGNATURE | DOZIER A |
| AFFILIATIONS | Fordham University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Lumpen Poetics of the Blues
Where are the directors haunted by the sickness of the blues? This article responds to this question and positions the poetics of the lumpen, an underclass of people who bear the status of disabled, migrant, homeless, substance user, sex worker, and so on, as the ontological breech that could rupture our colonial ways of knowing/being/feeling. This rupture moves us beyond the neoliberal framework advocating that our ability to work is our definin…
Conjuring Caliban's Woman
Julie Dash's experimental short film, Praise House (1991), situates conjuring as both a narrative and formal device to invent new memories around Black womanhood that exceed our representation within the epistemes of Man . I view Praise House as an example of conjure-cinema with which we can evaluate how Black feminist filmmakers, primarily working in experimental film, manipulate the poetic structure and aesthetics of film to affect audiences ra…
Wayward Travels
Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats stri…
No happy returns
Shaped by Black feminist ideology, this essay examines how Black women, as informed by their embodied existence, manipulate film’s formal and narrative aesthetics to ask what does cinema do, and what can it do in its portrayal of Black expressive culture. I understand the cinematic (re)presentation of Blackness to be an ideological aesthetic battleground for filmmakers, and while there are a plethora of films and scholarship dedicated to “positiv…
No happy returns
Shaped by Black feminist ideology, this essay examines how Black women, as informed by their embodied existence, manipulate film’s formal and narrative aesthetics to ask what does cinema do, and what can it do in its portrayal of Black expressive culture. I understand the cinematic (re)presentation of Blackness to be an ideological aesthetic battleground for filmmakers, and while there are a plethora of films and scholarship dedicated to “positiv…
No happy returns
Shaped by Black feminist ideology, this essay examines how Black women, as informed by their embodied existence, manipulate film’s formal and narrative aesthetics to ask what does cinema do, and what can it do in its portrayal of Black expressive culture. I understand the cinematic (re)presentation of Blackness to be an ideological aesthetic battleground for filmmakers, and while there are a plethora of films and scholarship dedicated to “positiv…
Wayward Travels
Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats stri…
Conjuring Caliban's Woman
Julie Dash's experimental short film, Praise House (1991), situates conjuring as both a narrative and formal device to invent new memories around Black womanhood that exceed our representation within the epistemes of Man . I view Praise House as an example of conjure-cinema with which we can evaluate how Black feminist filmmakers, primarily working in experimental film, manipulate the poetic structure and aesthetics of film to affect audiences ra…
Lumpen Poetics of the Blues
Where are the directors haunted by the sickness of the blues? This article responds to this question and positions the poetics of the lumpen, an underclass of people who bear the status of disabled, migrant, homeless, substance user, sex worker, and so on, as the ontological breech that could rupture our colonial ways of knowing/being/feeling. This rupture moves us beyond the neoliberal framework advocating that our ability to work is our definin…
Narrative (4 works) · Art (3 works) · Literature (3 works) · Posthumanist Ethics and Activism (3 works) · Scholarship (3 works) · Sociology (3 works) · Aesthetics (2 works) · Movie theater (2 works) · Political science (2 works) · Politics (2 works)