![]() Nola’s story is not progressive or transformative because she remains the object of a “male-biased patriarchal tale”. If you watch the trailer, you will get an immediate sense of how the protagonist, Nola Darling, is defined in the narrative by her male partners. Although the film was widely praised at the time for its depiction of an empowered and independent black woman, hooks believed the male director was unable to escape his patriarchal mode of thinking and simply mimicked some of the “mainstream patriarchal cinematic practices” that objectified white women for the male gaze. She wanted to see if they really did challenge the dominant ideology.įor example, in her first critical essay, hooks questioned the representation of women in Spike Lee’s “She’s Gotta Have it” (1986). Hooks was eager to “interrogate specific films” that supposedly offered a counterpoint to the white supremacist capitalist patriarchy. She also believed films had the capacity to “transform culture right before our very eyes” because they shaped and informed our view of the world. Capitalism and Motivated Representationīell hooks argued films were so accessible they offered a “common starting part” for “diverse audiences” to discuss issues of race, gender and class. ![]()
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