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 movies written, produced, edited and directed by [[wikipedia:Spike_Lee|Spike Lee]].<ref>https://en.wikipedia.org/wiki/She%27s_Gotta_Have_It</ref>
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'''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 is an independent-minded young woman who knows what she likes and what she wants out of life. She's attractive, likes sex and has no trouble attracting men but she knows what kind of man she wants. She also attracts women like Opal Gilstrap, who hope she'll 'come around'. The three men in her life - Jamie Overstreet, Mars Blackmon and Greer Childs - all provide their point of view on Nola and on their relationship with her.<ref name=":0">https://www.imdb.com/title/tt0091939/</ref>
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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>
  
<br />
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==Empowerment==
 
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'''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 ==
 
The world still isn’t ready for this movies. In 1986, Black cinema wasn’t in a renaissance. In fact, it had barely been uplifted, except for a few short spaces of time. But when Black creatives did hold some agency, even during early ‘70s, race movies were stymied when World War II began and Hollywood absorbed the Black actors who starred in them. In this period, white directors began to take over Blaxploitation films from its Black originators, the form losing its boldness under the guise of stereotypes.
 
 
 
Spike lee first movies upon graduating from NYU’s Tisch School of the Arts, completely changed Black cinema, from its Black female protagonist to the African-American gaze the new filmmaker offered through his lens. When written, Nola Darling was light-years ahead of most Black female characters who’d come before her in the nearly forty years prior. Sexually confident and open—intelligent, artistic, and sophisticated<ref name=":1">https://thespool.net/reviews/movies/shes-gotta-have-it-spike-lee-retro-review/</ref>
 
  
 
==Controversy==
 
==Controversy==
Being a Spike Lee film, it has a critical sense about the racial issue, implicit since the beginning, but being the first film by the American director, this criticism was not yet refined, as in his subsequent work. The movie is supposed to be told through Darling's perspective, but then the rest of the film is basically the guys take on Darling. Greer constantly puts her down racially, claiming that he could leave her for a white woman, Mars talking negatively about her behind her back every chance he got.<ref name=":0" />
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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 movie exists outside the confines of racial trauma and systemic racism. These are thriving Black men and women existing within the cultural milieu of Fort Greene Park almost unencumbered. There’s truthfulness to Lee’s vision, partly born from mashing both guerilla and documentary styles — seen through his use of his brother’s photography of a vibrant Brooklyn and his now-ubiquitous fourth-wall-breaking monologues. <ref name=":1" />
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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]]
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[[Category:Black-Targeted Racism in Comedy Movies]]
[[Category:Anti Black Racism in Comedy Movies]]
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[[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]

She's Gotta Have It film poster.jpg

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]

Reference