<p>A first comment on Spike Lee's 1996 film <em>Get On The Bus</em>, discussing it as a self-reckoning by Lee concerned with his previous explorations of masculine identity formation. Lee sees the limits and even harm of previous accounts of masculinity, placing the questions he has for himself, but also Black men more broadly, inside the spatially constrained yet affectively expansive and expanding frame of the bus.</p>

A first comment on Spike Lee's 1996 film Get On The Bus, discussing it as a self-reckoning by Lee concerned with his previous explorations of masculine identity formation. Lee sees the limits and even harm of previous accounts of masculinity, placing the questions he has for himself, but also Black men more broadly, inside the spatially constrained yet affectively expansive and expanding frame of the bus.

16 - Masculinity and the Interrogative in Get On The Bus

20-30 minute reflections on particular Spike Lee films, from School Daze up through Black KkKlansman - précis for a book-length study of Lee's cinema, reflections on a course I've taught a number of times at Amherst College and University of Maryland. In these podcast pieces, I pay particular attention to issues of race, class, gender, and sexuality as they emerge inside particular films and in the history-memory of African American life. How does Lee's cinema think? How does sound and image help us understand representation of Black bodies, Black people, and Black life? What are Lee's innovations, what challenges does he present us with in sound and image? And how can we see questions of masculinity, gender and racial formation, historical violence, and institutional violence evolve across his decades of filmmaking?

Share 16 - Masculinity and the Interrogative in Get On The Bus

Sign up to save your podcasts

16 - Masculinity and the Interrogative in Get On The Bus

16 - Masculinity and the Interrogative in Get On The Bus