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University of Southern California

1. Danjuma, Sharon Elizabeth. Community engaged art: no longer a form of resistance?.

Degree: Master of Public Art Studies, Public Art Studies, 2010, University of Southern California

During the 1960s and 1970s, African American artists created site-specific community engaged projects that were narrations of the social-cultural context of their communities. Within this milieu, the art works became powerful communicative tools, as was the case in John Outterbridge's collaborative project Oh, Speak Speak and Noah Purifoy's 66 Signs of Neon. However, in recent years, a proliferation of community engaged site-specific arts have emerged in various forms. These projects are appearing in the discourse of mainstream texts, discussions, museum exhibitions and commissioned public art works in the urban environment. Once looked upon with little regard by the art world, community engaged art is now canonized in the academy and elite art circles by a professional class of critics, curators, art historians and urban planners. This co-optation and assimilation of the aesthetic has weakened the criticality of the practice creating a disembodied commodification and a form of social work. Advisors/Committee Members: Ulke, Christina (Committee Chair), Outterbridge, John (Committee Member), Decter, Joshua (Committee Member).

Subjects/Keywords: community art; John Outterbridge; Noah Purifoy; Oh, speak speak; 66 signs of neon; Watts rebellion; Elliott Pinkney

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Danjuma, S. E. (2010). Community engaged art: no longer a form of resistance?. (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/309984/rec/1482

Chicago Manual of Style (16th Edition):

Danjuma, Sharon Elizabeth. “Community engaged art: no longer a form of resistance?.” 2010. Masters Thesis, University of Southern California. Accessed April 01, 2020. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/309984/rec/1482.

MLA Handbook (7th Edition):

Danjuma, Sharon Elizabeth. “Community engaged art: no longer a form of resistance?.” 2010. Web. 01 Apr 2020.

Vancouver:

Danjuma SE. Community engaged art: no longer a form of resistance?. [Internet] [Masters thesis]. University of Southern California; 2010. [cited 2020 Apr 01]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/309984/rec/1482.

Council of Science Editors:

Danjuma SE. Community engaged art: no longer a form of resistance?. [Masters Thesis]. University of Southern California; 2010. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/309984/rec/1482

2. McFadden, Donte L. Be a Man If You Can: Examining Pre-Migration and Post-Watts Revolt Identities of Black Working-Class Men in the Films of Charles Burnett, 1969-1990.

Degree: PhD, English, 2013, University of Wisconsin – Milwaukee

The films of Charles Burnett from 1969 through 1990 focus on the presentation of black working-class men in South Los Angeles as the decline of industrial jobs alters the socioeconomic landscape. Two periods that are important to understand the historical reference of Burnett's films are the Second Great Migration, in which African Americans evacuate the oppressive climate of Jim Crow to live in Los Angeles during World War II, and the Watts Revolt, a week in August in which residents of the Watts region revolted against law enforcement and business owners in response to the treatment of two African American motorists by California Highway Patrolmen. Burnett's films contain influences from Third Cinema and Modernist European Cinema, as shown in the use of handheld cameras on location shoots with non-professional actors. Burnett's earlier films rely on an episodic narrative structure to follow how his black male protagonists either transform their lives to adjust to the now-limited work opportunities, or stagnate themselves because the new climate has made them apathetic towards any hope for progress. His later films incorporate spatial narration, a storytelling strategy that relies on the formula of the classical Hollywood narrative. Rather than use this narrative structure commonly found in mainstream American cinema to establish a conflict, climax, and resolution within the story, Burnett is more focused on the relationship between space and time, demonstrated in the onscreen presence of older and younger characters and issues that pertain to both historical (i.e. migration era) and contemporary (i.e. post-Watts Revolt) identity. Ultimately, this project identifies components in Burnett's filmmaking style and storytelling approach that allow him to present the lives of black working-class men of South Los Angeles and how they are effective. Advisors/Committee Members: Vicki A. Callahan.

Subjects/Keywords: African American Independent Cinema; Charles Burnett; L.A. Rebellion; South Los Angeles; Watts Revolt; African American Studies; Film and Media Studies

…the Watts rebellion.” (234) 18 “Introduction” 3).19 These groups had an… …The legacy of the Great Migration in South Los Angeles and the outcome of the Watts Revolt… …of age after the Watts Revolt. The male characters in a majority of these films each… …South to Los Angeles and from the Watts Revolt of 1965 3 serves as the basis for which… …living-wage income would span throughout two decades. The Watts Revolt of 1965 resulted from a… 

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Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

McFadden, D. L. (2013). Be a Man If You Can: Examining Pre-Migration and Post-Watts Revolt Identities of Black Working-Class Men in the Films of Charles Burnett, 1969-1990. (Doctoral Dissertation). University of Wisconsin – Milwaukee. Retrieved from https://dc.uwm.edu/etd/333

Chicago Manual of Style (16th Edition):

McFadden, Donte L. “Be a Man If You Can: Examining Pre-Migration and Post-Watts Revolt Identities of Black Working-Class Men in the Films of Charles Burnett, 1969-1990.” 2013. Doctoral Dissertation, University of Wisconsin – Milwaukee. Accessed April 01, 2020. https://dc.uwm.edu/etd/333.

MLA Handbook (7th Edition):

McFadden, Donte L. “Be a Man If You Can: Examining Pre-Migration and Post-Watts Revolt Identities of Black Working-Class Men in the Films of Charles Burnett, 1969-1990.” 2013. Web. 01 Apr 2020.

Vancouver:

McFadden DL. Be a Man If You Can: Examining Pre-Migration and Post-Watts Revolt Identities of Black Working-Class Men in the Films of Charles Burnett, 1969-1990. [Internet] [Doctoral dissertation]. University of Wisconsin – Milwaukee; 2013. [cited 2020 Apr 01]. Available from: https://dc.uwm.edu/etd/333.

Council of Science Editors:

McFadden DL. Be a Man If You Can: Examining Pre-Migration and Post-Watts Revolt Identities of Black Working-Class Men in the Films of Charles Burnett, 1969-1990. [Doctoral Dissertation]. University of Wisconsin – Milwaukee; 2013. Available from: https://dc.uwm.edu/etd/333

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