The release of D. W. Griffith's The Birth of a Nation in 1915 defined for the first time the side that Hollywood was to take in the war to represent Black people in America. In The Birth of a Nation, D. W. Griffith, later a founding member of United Artists, created and fixed an image of Blackness that was necessary for racist America's fight against Black people. The Birth of a Nation constitutes the grammar book for Hollywood's representation of Black manhood and womanhood, its obsession with miscegenation, and its fixing of Black people within certain spaces, such as kitchens, and into certain supporting roles, such as criminals, on the screen. White people must occupy the center, leaving Black people with only one choice--to exist in relation to Whiteness. The Birth of a Nation is the master text that suppressed the real contours of Black history and culture on movie screens, screens monopolized by the major motion picture companies of America.
Griffith's film also put Black people and White liberals on the defensive, inaugurating a plethora of historical and critical writings against The Birth of a Nation, and overdetermining a new genre, produced exclusively for Black audiences, called race films. More insidiously, however, the racial conflict depicted in The Birth of Nation became Hollywood's only way of talking about Black people. In other words, whenever Black people appeared on Hollywood screens, from The Birth of a Nation to Guess Who's Coming to Dinner? to The Color Purple, they wererepresented as a problem, a thorn in America's heel. Hollywood's Blacks exist primarily for White spectators whose comfort and understanding the films must seek, whether they thematize exotic images dancing and singing on the screen, or images constructed to narrate a racial drama, or images of pimps and muggers. With The Birth of a Nation came the ban on Blacks participating in bourgeois humanism on Hollywood screens. In other words, there are no simple stories about Black people loving each other, hating each other, or enjoying their private possessions without reference to the White world, because the spaces of those stories are occupied by newer forms of race relation stories which have been overdetermined by Griffith's master text.
The relations between Black independent cinema and the Hollywood cinema just described above parallel those between Blackness and Americanness; the dichotomy between the so-called marked cultures and unmarked cultures; but also the relations between "high art" and "low art." The complexity of these relations is such that every independent filmmaker's dream is to make films for Hollywood where she or he will have access to the resources of the studios and the movie theaters. On the other hand, the independents often use an aesthetic and moral high ground to repudiate mainstream cinema, which is dismissed as populist, racist, sexist, and reactionary. Furthermore, a look at the relations between Oscar Micheaux and the Hollywood "race films," Melvin Van Peebles and the Blaxploitation films, Charles Burnett (Killer of Sheep), Haile Gerima (Bush Mama), and Spike Lee and the re-thematization of urban life in such films as City of Hope, Grand Canyon, Boyz N the Hood, and Straight Out of Brooklyn reveals that mainstream cinema constantly feeds on independent cinema and appropriates its themes and narrative forms.
Some of the most prominent Black film historians and critics, such as Albert Johnson, Donald Bogle, and Thomas Cripps, emphasize mainly mainstream cinema when discussing Black films. With the exception of a few breakthrough films, such as those by Micheaux, Van Peebles, and Lee, these historians are primarily concerned with the issues of integration and race relations in mainstream films, Black actors and actresses on the big screen, and the construction of stereotypes in Hollywood films. They rarely pay attention to independent cinema, which includes far more Black directors than Hollywood, and in which aesthetics, political concerns such. as authorship and spectatorship, and the politics of representation with respect to Black cinema are more prevalent. Critics and historians such as Clyde Taylor, Toni Cade Bambara, Phyllis Klotman, and Gladstone Yearwood are the first to focus on Black independent cinema as a subject of study. More recently, the Black Film Review has assumed the preeminent role in Black film history and criticism.
Hollywood's block-booking system prevents independently produced films from reaching movie theaters and large audiences. This may be one reason why film historians and critics neglect independent cinema: some film magazines, such as Cineaste, adopt a policy of accepting only reviews of films that have been distributed and seen by their readers. It is also possible to argue that Black independent cinema has remained marginal until now because its language, not unlike the language of most independent films, is metafilmic, often nationalistic, and not "pleasurable" to consumers accustomed to mainstream Hollywood products. Black independent cinema, like most independent film practices, approaches film as a research tool. The filmmakers investigate the possibilities of representing alternative Black images on the screen; bringing to the foreground issues central to Black communities in America; criticizing sexism and homophobia in the Black community; and deploying Afra-femcentric discourses that empower Black women. The narratives of such films are not always linear; the characters represent a tapestry of voices from W. E. B. DuBois, Frantz Fanon, Toni Morrison, Malcolm X, Martin Luther King, Jr., Karl Marx, Angela Davis, Alice Walker, and Zora Neale Hurston. Even what passes as documentary in Black independent films, like The Bombing of Osage Avenue (Louis Massiah), is an artistic reconstruction of archival footage and "real" events.
What is, therefore, the Black independent cinema, and what constitutes its influence on mainstream cinema? The French appropriately refer to independent cinema as cinema d'art et essai. In France, the government sponsors such a cinema by imposing a distribution tax on commercial films. The cinema d'art et essai is less concerned about recouping its cost of production and making a profit; its main emphasis is toward artistic development, documenting an area of research, and delineating a certain philosophy of the world. In the late 1950s, a group of French youth, who were dissatisfied with commercial films and wanted to make their own films, mobilized private and personal funds along with government funds to produce low-budget films. The result is well known today as the French New Wave, considered by some as one of the pivotal moments in film history.
As an alternative to commercial cinema, which emphasized the well-made story, acting, and the personality of the actor, the New Wave put in the foreground the director, whom it raised to the same artistic level as the author of a painting, a novel, or a poem; the New Wave also demystified the notion of the well-made story by experimenting with different ways of telling the same story, and by deconstructing the notion of actor and acting. Jean-Luc Godard's Breathless (1959), for example, is famous for its reinsertion of the "jump-cut" as a valid narrative device. The jump-cut, which was avoided in Hollywood films in order not to disrupt the spectator with "unnecessary" repetitions, has today become a powerful narrative device used by directors such as Spike Lee, who redefines it and uses it to describe the repetition and the sameness in racial and sexual stereotyping. In Do the Right Thing (1988) Lee uses the same angle to repeat several shots of Blacks, Italians, Jews, and Koreans repeating racial stereotypes, unlike Godard, who uses the same image twice from the same angle. Lee practices the same device in She's Gotta Have It (1985) to construct sexual stereotypes among young Black males.
This example of the New Wave reveals that independent filmmakers come to their vocation for at least two reasons: one political, and the other artistic. Politically, they are dissatisfied with commercial cinema's lack of courage to address certain issues. They feel that they have to make their own films if they want to see those issues on the screen. Artistically, they want to explore new ways of telling stories; they want to experiment with the camera, the most powerful invention of modem times, and engage the infinite possibilities of storytelling. There are other examples of alternative or independent cinemas that occupy important places in the history of film. The Italian Neorealism, the Brazilian Cinema Novo, and the Argentinean Third Cinema have all created alternative narrative techniques that were at first unknown to commercial cinemas, but are claimed today as part of traditional narrative practices.
Similarly, the cloning of Hollywood' s mind to Black history and culture, which do not revolve around White people, is the reason why most Black filmmakers since Oscar Micheaux have turned first to the independent sector. Since Oscar Micheaux, Black independents have pioneered creating alternative images of Blacks on the screen, constructing new narrative forms derived from Black literature and folklore, and denouncing racism, sexism and homophobia in American culture.
This is not, however, to romanticize the independent practice. Micheaux made his films by selling personal property and borrowing money from friends. Still today, independent filmmaking causes many people to become poor. It takes more than six years for some filmmakers to gather the money for one film. Charles Burnett's To Sleep With Anger, and Julie Dash's Daughters of the Dust came only after arduous years of fundraising. Haile Gerima has been trying to raise funds for Nunu for several years now. We have not yet seen second features by talented directors such as Billy Woodberry (Bless Their Little Hearts), Larry Clark (Passing Through), Alile Sharon Larkin (A Different Image), and Warrington Hudlin (Street Comer Stories). Spike Lee sums up the harsh reality of independent production as follows:
When I went to film school, I knew I did not want to have my films shown only during Black History Month in February or at libraries. I wanted them to have a wide distribution. And I did not want to spend four or five years trying to piecemeal together the money for my films. I did my first film, She's Gotta Have It, independently for $175,000. We had a grant from the New York State Council on the Arts and were raising money the whole time we were shooting. We shot the film in twelve days. The next stage was to get it out of the lab. Then, the most critical part was when I had to hole up in my little apartment to get it cut. I took about two months to do that. I had no money coming in, so I had to hold off the debtors because I knew if I had enough time to at least get it in good enough shape to show, we could have some investor screenings, and that's what happened. We got it blown up to 35mm for a film festival. What you have to do is to try to get a distributor. You enter as many film festivals as you can.
Black independent cinema is any Black-produced film outside the constraints of the major studios. The filmmakers' independence from Hollywood enables them to put on the screen Black lives and concerns that derive from the complexity of Black communities. Independent films provide alternative ways of knowing Black people that differ from the fixed stereotypes of Blacks in Hollywood. The ideal spectators of the films are those interested in Black people's perspectives on American culture. White people and Whiteness are marginalized in the films, while central positions are relegated to Black people, Black communities, and diasporic experiences. For example, the aesthetics of uplifting the race in a film like The Scar of Shame (1928, The Colored Players) concern particularly Black spectators, whom the filmmakers' stated mission is to entertain and educate. The film posits Black upper-class culture as that which should be emulated by lower-class Blacks in order to humanize themselves. Unlike Hollywood films of that time, which identified with the ideal White male, the camera in The Scar of Shame identifies with the position of the Black bourgeoisie. The film is precious today as a document of Black bourgeois ways of being in the 1920s and 1930s. Crucially, it constitutes, with Oscar Micheaux' s films, a genre of Black independent cinema which puts Black people and their culture at the center as subjects of narrative development; in these films, Black people are neither marginalized as a problem, nor singled out as villainous stereotypes such as Hollywood constructs in its films.