Just Another Word for Jazz
The Signifying Auteur in William Greaves's Symbiopsychotaxiplasm: Take One
Bibliographic Data
| ID | 5826677 |
|---|---|
| Authors | Gottlieb (0000-0001-5712-0466, corresponding author), Gottlieb Gottlieb (corresponding author) |
| Year | 2013 |
| Volume | 5 |
| Issue | 1 |
| Pages | 164-164 |
| Publication date | 2013-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Black Camera (JOURNAL) |
| Journal identifiers | ISSN: 1536-3155 • E-ISSN: 1947-4237 |
| Publisher | Indiana University Press (PUBLISHER • US) |
| DOI | 10.2979/blackcamera.5.1.164 |
| OpenAlex | W2013326648 |
| Language | EN |
| Citations received | 2 |
| References cited | 5 |
Drawing on material from the William Greaves collection at Indiana University's Black Film Center/Archive, this essay situates Greaves's unstable, chaotic, and long unseen 1968 documentary Symbiopsychotaxiplasm: Take One within an expanded historical context of black independent cinema. I will explore Greaves's "feature-length we-don't-know" as a referendum on the convoluted subject position-a double-consciousness, at least -of the pioneering black independent filmmaker, and the pressure to exploit the communicatory possibilities of a newly democratized medium while resisting its modes of oppression. How strict is the correlation between the one who holds the camera and the one who wields the power? Greaves's aesthetic experiment suggests a subversive and historically resonant form of direction through indirection-a Brechtian "theater of possibility" that turns cinematic self-reflexivity into a multilayered implication of the spectator
Jazz · Art, Politics, and Modernism · Cinema and Media Studies · Theatre and Performance Studies
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,18 |
| Citation span | 2015 - 2016 (2) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |