Film Analysis She s Got Ta - 1857 Words

There are hardly any films involving African-Americans that accurately represent black culture and it is something that has rarely been accomplished in the mainstream film industry. In the 30s, black film had an extraordinary presence as they were shown to large segregated audiences. However, by the 80’s black film was seen as simply comic relief with no true depictions of real life. In 1986, She’s Gotta Have It was introduced by director, editor and actor Spike Lee who wanted real people with real lives in his work. The film offers a new perspective on sexuality and the double standard that is applied to men and women. This portrayal allowed audiences to visualize African-Americans as any other race when it comes to loving one another and†¦show more content†¦The film represents the main protagonist Nola all the way down to her three lovers, with each representing a different personality trait that is not necessarily race identifiable. Lee develops a new form of cinema by creating a new aesthetic. Lee details the double standard that exists for Nola by showing her deviating from social norms. She refuses to live by anyone else’s rules and resists conventional ideals such as marriage and monogamy. This film portrays a possible explanation of racial dynamics within gender and sexuality. If roles were shifted for men and women through various aspects focusing on mise-en-scene, editing and narrative conventions. There are a variety of ways to tell a story to a viewer. Lee choose a very peculiar way to present the story to viewers. The film is first introduced with establishing shots placing the viewers in Brooklyn New York. One of the first scenes at 3:25 involved the camera zooming into Nola in her bed with the covers rustling followed by her sitting up and addressing the camera. However, before she can say a word the film cuts to a black screen with her name ‘Nola Darling’ representing the film as a documentary feature. The action of talking directly to the camera outlines her polymorphous sexuality, but as someone who wants to be appreciated on her own terms. In other words, this interview format manages to create a hybrid form of documentary and dramatic elements as Nola, her three lovers, and the