Showing 1 through 4 of 4 records. | 1. Anderson, Nicole. "Stealing Mother’s Body: Reflections on Mimicry, Morality and Tyler Perry’s Madea" Paper presented at the annual meeting of the National Women's Studies Association, Millennium Hotel, Cincinnati, OH, <Not Available>. 2009-11-26 <http://www.allacademic.com/meta/p231767_index.html>Publication Type: Conference Paper/Unpublished Manuscript |
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| 2. Nelson, Michael. "The President is Dead - John Tyler Assumes the Presidency" Paper presented at the annual meeting of the American Political Science Association, Marriott, Loews Philadelphia, and the Pennsylvania Convention Center, Philadelphia, PA, <Not Available>. 2009-11-26 <http://www.allacademic.com/meta/p153619_index.html>Publication Type: Proceeding |
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| 3. Dickson, Lynda. "Tyler Perry's Films: Reflection or Distortion of the African American Family?" Paper presented at the annual meeting of the 33rd Annual National Council for Black Studies, Renaissance Atlanta Hotel Downtown, Atlanta, GA, <Not Available>. 2009-11-26 <http://www.allacademic.com/meta/p369938_index.html>Publication Type: Panelist Abstract
Abstract: This paper examines the extent to which the images of black family/relationships represented in Perry’s films reflect or distort the “reality” of family structures and gender relationships within the contemporary African American community. It asks: To what extent do these constructions reflect reality? Perhaps most importantly, why do Perry’s reconstructions of Black families/relationships have such widespread appeal to African American audiences? |
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| 4. Seward, Adrienne. "Locating Tyler Perry's Films in the Sociohistorical Context of "Race" Movies" Paper presented at the annual meeting of the 33rd Annual National Council for Black Studies, Renaissance Atlanta Hotel Downtown, Atlanta, GA, <Not Available>. 2009-11-26 <http://www.allacademic.com/meta/p369937_index.html>Publication Type: Panelist Abstract
Abstract: This paper examines historical eras in “race films”, then places Tyler Perry’s filmic representations of the Black women, gender and the Black family within its sociohistorical context.
It asks: What is the role of extended family, religiosity, constructions of black masculinity and femininity, etc., in constructing images of African American families and relationships between black men and women? How is social class constructed in these films, and how is class conflict represented? To what extent do these constructions reflect reality? Perhaps most importantly, why do Perry’s reconstructions of Black families/relationships have such widespread appeal to African American audiences? |
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