The concept of intertextuality soon became - Kristeva's hallmark. 1972.
This reversal of comedy is also an homage to Chaplin, who invariably presents his protagonist as an outsider -– in the opening shot of Modern Times, that sense of being “other” is metaphorically represented by the one black sheep in the herd that crowds the opening shot. Signifyin’ turns on the play and chain of signifiers, and not on some supposedly transcendent signified” (1987: 238).
Van Peebles, Melvin. And on the side, another bun. 1992. Review of Daughters of the Dust. A scene where boys run toward a moving train to throw stones is shot first from inside the train, then from behind the boys in a long shot. Just the other day I had a party thrown for me. The “prince” is signifyin(g) when he praises the simple hamburger with rhetorical flourishes; in black culture, the “signifyin’” speaker tries to establish his superiority by displaying verbal cleverness, most often in the form of putting down the addressee. In a formal sense, “signifyin(g)” includes not only the traditional rhetorical tropes but also what Gates calls “black rhetorical tropes” -– “marking, loud-talking, testifying, calling out (of one’s name), sounding, rapping, playing the dozens, etc.” (1987: 237). 1990. Her film Illusions thus creates the illusion of visibility for people who were basically invisible in ‘40s-era films. Kristeva's polylogous understanding of the text and especially her “Cinéma des racines, et histoires du ghetto.” Cahiers du cinéma 340 (October): 48-52. In its organization, the film has a mosaic structure, moving from one focus to another; each scene appears relatively independent. Kochman, Thomas, ed. 1972. From 1960 until the mid-1980s, the exclusion of African-American filmmakers from Hollywood led to the adoption by several film artists of aesthetic strategies that can be best understood if they are seen in the context of signifyin’ as it has been practiced in African-American culture. Klotman, Phyllis Rauch, ed. RHETORIC: CONCEPTS, DEFINITIONS, AND BOUNDARIES (1995) William A. Covino and David A. Joliffe Part I: An Introduction to Rhetoric Cicero: “The real power of eloquence is such that it embraces the origin, the influence, the changes of all things in the world, all virtues, duties, and all … Killer of Sheep is a film of consummate art, even though made with a small budget of $10,000 (Burnett 1981b). By continuing to browse this site, you give consent for cookies to be used. Discuss three examples that have helped you in reading specific works.' He wants to change jobs. Charles Burnett has turned to more commercial projects, such as Glass Shield (1994), a film that confronts the relations between black and white police officers in the LAPD. Urbana: University of Illinois Press. 1982. After reading article “The ‘Blackness of Blackness: A Critique of the Sign and the Signifying Monkey,” write an essay that discusses how Gates’ theory of intertextuality or revisionism is evident in the two attached poems.
Whites do, however, turn up as the object of the put-down. The first man talks in a monologue but with great emphasis: “You see I am a prince here on a private visit… the Prince of Dahomey. Interview. Dash’s subsequent feature film, Daughters of the Dust, partially financed by American Playhouse in 1991, ignored the conventions of Hollywood film and explored instead the structure of African griot narrative. 2. Its signifyin’ strategies are multiple, and consitute an integral part of its poetic structure; its ambiguities lie in the message itself. ––. The tale of the monkey who bests the lion by insulting him and tricking him into fighting with the elephant is a story often told in competitions between performers known as “toast-telling sessions” (Abrahams, 97-172).