The genre changed the landscape of Black women in film, but were Blaxploitation's leading women truly liberated?
How do the film's varying portrayals of Black masculinity fuel the idolization of each of the three main characters?
The thirds installment of "A Seat at Our Table," featuring “Fashion Activism: The Politics of Dress During the Civil Rights Movement” by Taylor Haynes, “Aretha Franklin's R-E-S-P-E-C-T-ability Politics: Hair, Music, and Activism” by Kayla Perez, “Redefining "Femininty": How Black, Queer Women Musicians Subvert Expectations of Womanhood” by Nina Ahmadi, and “Hip-Hop, Black Masculinity, and Sexuality--Frank Ocean and Tyler the Creator” by Sean Salmons.
How Tyler the Creator and Frank Ocean challenge contemporary conceptualizations of Black queer men in hip-hop.
The second installment of "A Seat at Our Table," featuring “Modeling Race” by Netanya Ronn, “Redefining Black Beauty” by Tatyana Tandanpolie, “Blackness and Colorism in Kenya Barris’s Productions” by Britney Agyen, “Pelo Bueno/Pelo Malo” by Melany Canela, and “White Parents, Black Hair" by Rachel Goulston.
How does the language used on hair care products define what is considered beautiful and, thus, imply how Black women should see their beauty?
How do white parents of black, biracial, or transracial children find resources and form community centered around Black hair care?