Remixing Spike Lee’s Joints
Week 1: Inside Man – The Introduction Week 2: She’s Gotta Have It & Jungle Fever – Narrative Week 3: Do the Right Thing & Clockers – Character Week 4: Crooklyn & Get … Continue reading
Arthur Jafa, Treatment, and the Alien Familiar
I recently came across an essay written by Arthur Jafa, the cinematographer on Crooklyn, and the director of photography on Malcolm X. The essay, titled “The Notion of Treatment: Black Aesthetics and … Continue reading
4 Little Girls Documentary with a Touch of SL’s Fantastical World
Lee never fails to incorporate techniques that make his movies his own. That’s why he’s justified in calling each of them a “Joint.” His style is ubiquitous in his film … Continue reading
The Bus As Petri Dish
Lee uses the close space of the bus whose ingredients, due to the space, are allowed to hyper-interact. These ingredients consist of the many overt “types” of black males within … Continue reading
Digging (a little more) into Red Hook Summer
I wanted to revisit some of the points raised by myself and Milani concerning the cinematography of Red Hook Summer. For reference’s sake, here is my previous blog post (with comments … Continue reading
Digging into Red Hook Summer
I’d like to talk about Red Hook Summer’s imperfections in class today. As one of Lee’s most recent films, a film I hadn’t seen before, and a film I’d heard … Continue reading
Crooklyn’s Finest
Crooklyn, much like in Mo’ Better Blues, has an extremely neat ending as it mirrors the beginning, creating a pleasurable but puzzling viewing experience. The beginning is a series of panning … Continue reading
“Two” things
Two things amongst many stuck out to me as I watched Mo’ Better Blues this weekend. I dare say their repetition throughout Spike Lee’s work constitute a “signature” across his … Continue reading
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