abstract: Hollywood's portrayal of African American men was replete with negative stereotypes before Shelton Jackson Lee, commonly known as Spike Lee, emerged as one of the most creative and provocative filmmakers of our time. Lee has used his films to perform a corrective history of images of black men, by referencing African American male icons in his narrative works. This strategy was evident in his third feature film, Do the Right Thing (1989). Baseball great Jackie Robinson, and freedom fighters, Martin Luther King, Jr. and Malcolm X, were the black male icons featured prominently in the film. The Brooklyn-raised filmmaker's film journals, published interviews, and companion books, have provided insight into his thoughts, motivations, and inspirations, as he detailed the impact of the black male historical figures he profiles in Do the Right Thing (1989), on his life and art. Lee deployed his corrective history strategy, during the 1980s, to reintroduce African American heroes to black youth in an effort to correct media portrayals of black men as criminal and delinquent. He challenged the dominant narrative in mainstream Hollywood films, such as Cry Freedom (1987) and Mississippi Burning (1989), in which white heroes overshadowed black male icons. Lee's work parallels recent scholarship on the history of African American males, as called for by Darlene Clarke Hine and Ernestine Jenkins. The prolific director's efforts to radically change stereotypical depictions of black men through film, has not gone without criticisms. He has been accused of propagating essentialist notions of black male identity, through his use of African American male icons in his films. Despite these alleged shortcomings, Lee's reintroduction of iconic figures such as Jackie Robinson, Martin Luther King, Jr. and Malcolm X, in Do the Right Thing (1989), marked the beginning of a wave of commemorative efforts, that included the retiring of Robinson's number forty-two by Major League Baseball, the popularization of the Martin Luther King National Holiday, and the rise of Malcolm X as a icon embraced by Hip Hop during the 1990's. / Dissertation/Thesis / M.A. History 2012

Submitted by Jordan (jordanbiblio@gmail.com) on 2017-01-23T14:53:54Z No. of bitstreams: 1 DISS_2015_Keila Souza de Oliveira.pdf: 873608 bytes, checksum: 244615688feeeec5b3d6b4706eb00d91 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-01-27T14:39:42Z (GMT) No. of bitstreams: 1 DISS_2015_Keila Souza de Oliveira.pdf: 873608 bytes, checksum: 244615688feeeec5b3d6b4706eb00d91 (MD5) / Made available in DSpace on 2017-01-27T14:39:42Z (GMT). No. of bitstreams: 1 DISS_2015_Keila Souza de Oliveira.pdf: 873608 bytes, checksum: 244615688feeeec5b3d6b4706eb00d91 (MD5) Previous issue date: 2015-12-04 / CAPES / O propósito da presente dissertação é levantar pontos que contribuam para o debate, configurado na convergência percebida nas políticas públicas, de inclusão educacional e a afirmação da construção da imagem positiva do negro. Entendendo que os filmes podem contribuir significativamente para o ensino de história e cultura da África, por sua acessibilidade, diversidade e tipos de informações, mais próximas, compreensíveis e potencialmente mais significativas e interessantes para os alunos. Conhecer as origens é fundamental para a ampliação da consciência social e histórica de uma nação. No início do século XX o negro é representado na cinematografia na maioria das vezes como um personagem caricato o que influência na formação da visão que a sociedade brasileira terá sobre o afrodescendente. Este é sempre o explorado, o escravo, cativo, pobre e vulnerável. A luta contra o estereótipo da imagem do negro e da sua cultura mostrou esforço especial em favor de uma educação que concorre no sentido da superação do racismo e também de busca de caminhos, onde a africanidade pudesse afirmar a importância da sua cultura. Neste início de século XXI ocorreram diversos avanços no que diz respeito às políticas públicas no Brasil, um exemplo é a criação da Lei 10.639/03. É fundamental a compreensão de que a lei não se manifesta apenas no currículo, sua função é o diálogo multicultural. Faz-se necessário desconstruir o que se encontra arraigado em nossa sociedade, essa visão eurocêntrica, que distorce e diminui a participação dos negros na formação de nossa sociedade. A Mostra Internacional do Cinema Negro vem cumprindo a função de apresentar, debater e vincular através dos filmes, a construção da imagem positiva do negro. / Abstract the purpose of this article is to raise points that indicate to the understanding of the phenomenon, configured in the perceived convergence in public policies, educational inclusion and affirmation of the positive image of blacks. We believe that movies can make a significant contribution to the teaching of history and culture of Africa, for its accessibility, diversity and types of information, closest, understandable and potentially more significant and interesting to students. Meet the origins is crucial to expanding the social and historical consciousness of a nation. In the early 20th century, the black is represented in cinematography for the most part as a stereotypical character. This image described in the caricatures of black’s chanchadas has great influence in forming the view that Brazilian society will have on the black. This is always the tapped, the slave, and captive, poor and vulnerable. The fight against the stereotype of the black image and its culture showed special effort in favor of an education that contributes towards the overcoming of racism and to search for paths, where the Africanism could assert the importance of its culture. At the beginning of the 21st century, there have been several advances with regard to public policies in Brazil. Maybe, when we speak of public policies of inclusion in the field of education discusses the need to include the racial ethnic group marginalized, but also recover your positive image deteriorated on the impact of ideology of racial superiority of the hegemonic racial group. It is essential that you understand that the law does not manifest itself only in the curriculum, its function is the multicultural dialogue. It is necessary to deconstruct what is ingrained in our society, this Eurocentric vision, which distorts and reduces the participation of blacks in the formation of our society. The Black International Cinema Displays has been fulfilling the function to present, discuss and link through the films, the construction of the positive black image.

[pt] Em 1988, ano do centenário da Lei Áurea, o diretor Zózimo Bulbul realiza seu primeiro longa-metragem como diretor intitulado Abolição. O desejo de retomar narrativas negras é o gancho para a produção do documentário, que discute essa temática a partir do olhar de uma equipe formada quase exclusivamente por profissionais negros/as. O objetivo desta dissertação é investigar a obra naquele momento histórico, nos anos 1980, e entender o contexto em que se discutia os cem anos da pós-abolição da escravatura. Dentro da proposta, o filme dialoga com intelectuais, artistas, esportistas que constituíram um pensamento sobre o que é ser negro no Brasil. Tais interlocutores são também personagens do próprio filme, como Lélia Gonzalez, Thereza Santos, Abdias Nascimento, Muniz Sodré, entre outros/as. Como complemento à pesquisa, houve também um registro fílmico de curta duração a partir de entrevistas inéditas realizadas com parte da equipe do filme em 2020. A proposta desse registro é constituir um documento audiovisual com depoimentos da equipe que resgatem a atmosfera da filmagem e o contexto histórico de Abolição. / [en] In 1988, centenary of the Golden Law, Zózimo Bulbul made his first feature film as a director, called Abolição (Abolition). The desire to reclaim black narratives is the key for the production of the documentary, which discusses the topic from the perspective of a team formed exclusively by black professionals. Thus, the objective of this dissertation is to investigate the piece at that historic moment (1980s) and understand the context in which the hundred years post abolition of slavery were discussed. Within the proposition, this work dialogues with intellectuals, artists, sportsmen who will reflect about what it is to be black in Brazil. These interlocutors are also characters in the film itself, such as Lélia Gonzalez, Thereza Santos, Abdias Nascimento, Muniz Sodré, among others. In addition, a short film will be made based on unpublished interviews conducted with part of the film crew. The proposal is also to establish an audiovisual documentation with testimonials from the team that will revive the atmosphere of the filming and the historical context of Abolition.