Viewer, I Married Him
Viewer, I Married Him
This chapter uses film theory and visual culture studies to parse Malcolm D Lee's film The Best Man (1999) and Gina Prince-Bythewood's film Love and Basketball (2000) as well as the corresponding soundtracks, screenplays, and publicity. It illuminates how the films unsettle genre boundaries as well as encode progressive and pernicious messages about the formation of African American marriage and Black love for its Black middle-class characters.
Keywords: Love and Basketball, Gina Prince-Bythewood, The Best Man, Malcolm D Lee, Black middle-class, Black love, Soundtrack, African American marriage, genre
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