Difference between revisions of "She's Gotta Have It (1986)"
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| − | '''She's Gotta Have It''' (1986) is an American black-and-white comedy-drama | + | '''She's Gotta Have It''' (1986) is an American black-and-white comedy-drama movie produced and edited by [[wikipedia:Spike_Lee|Spike Lee]].<ref>https://en.wikipedia.org/wiki/She%27s_Gotta_Have_It</ref> |
[[File:She's Gotta Have It film poster.jpg|thumb]] | [[File:She's Gotta Have It film poster.jpg|thumb]] | ||
==Plot== | ==Plot== | ||
| − | Nola Darling | + | The movie tells a story of Nola Darling, an independent young woman who knows exactly what she likes and want in her life. She is attractive, sexually active woman who has no trouble finding a man she wants. He attracts both men and women in her life. Three men that she has been with, provide their view of Nola and how their relationship goes.<ref name=":0">https://www.imdb.com/title/tt0091939/</ref> |
| − | + | ==Empowerment== | |
| − | + | '''She's Gotta Have It''' is Spike Lee's first movie after graduating from NYU’s Tisch School of the Arts. This movie change how Black people are portrayed in cinema. Having a Black female protagonist and showing the movie through African-American eyes. Nola Darling becomes a strong female black character who is sexually confident, open, smart, artistic and mature. A new role that black female characters has never had before.<ref name=":1">https://thespool.net/reviews/movies/shes-gotta-have-it-spike-lee-retro-review/</ref> | |
| − | == Empowerment == | ||
| − | |||
| − | |||
| − | Spike | ||
==Controversy== | ==Controversy== | ||
| − | Being a Spike Lee film, it has a | + | Being a Spike Lee film, it has a basic sense about the racial issue, implied since the start of the movie, but being the first film by the American director, this criticism was not yet refined, as in his subsequent work. The film should be told through Darling's point of view, yet then the remainder of the film is fundamentally the folks take on Darling. Greer continually puts her down racially, guaranteeing that he could leave her for a white lady, Mars speaking contrarily about her in every chance got.<ref name=":0" /> |
| − | The | + | The film exists outside the limits of racial injury and fundamental prejudice. These are thriving Black men and women existing inside the social milieu of Fort Greene Park practically unrestricted. There’s truthfulness to Lee’s vision, partly born from mashing both guerilla and documentary styles — seen through his utilization of his sibling's photography of a vibrant Brooklyn and his now-ubiquitous fourth-wall-breaking monologues. <ref name=":1" /> |
==Reference== | ==Reference== | ||
| − | [[Category:Black Racism in Comedy Movies]] | + | [[Category:Black-Targeted Racism in Comedy Movies]] |
| − | [[Category:Anti Black Racism in Comedy Movies]] | + | [[Category:Anti-Black Racism in Comedy Movies]] |
<references /> | <references /> | ||
Latest revision as of 06:11, 15 March 2021
She's Gotta Have It (1986) is an American black-and-white comedy-drama movie produced and edited by Spike Lee.[1]
Contents
Plot
The movie tells a story of Nola Darling, an independent young woman who knows exactly what she likes and want in her life. She is attractive, sexually active woman who has no trouble finding a man she wants. He attracts both men and women in her life. Three men that she has been with, provide their view of Nola and how their relationship goes.[2]
Empowerment
She's Gotta Have It is Spike Lee's first movie after graduating from NYU’s Tisch School of the Arts. This movie change how Black people are portrayed in cinema. Having a Black female protagonist and showing the movie through African-American eyes. Nola Darling becomes a strong female black character who is sexually confident, open, smart, artistic and mature. A new role that black female characters has never had before.[3]
Controversy
Being a Spike Lee film, it has a basic sense about the racial issue, implied since the start of the movie, but being the first film by the American director, this criticism was not yet refined, as in his subsequent work. The film should be told through Darling's point of view, yet then the remainder of the film is fundamentally the folks take on Darling. Greer continually puts her down racially, guaranteeing that he could leave her for a white lady, Mars speaking contrarily about her in every chance got.[2]
The film exists outside the limits of racial injury and fundamental prejudice. These are thriving Black men and women existing inside the social milieu of Fort Greene Park practically unrestricted. There’s truthfulness to Lee’s vision, partly born from mashing both guerilla and documentary styles — seen through his utilization of his sibling's photography of a vibrant Brooklyn and his now-ubiquitous fourth-wall-breaking monologues. [3]
