Keith Corson je filmový bádateľ, ktorého práca sa ponára do zložitej evolúcie afroamerickej kinematografie v ére po blaxploitation. Jeho výskum kriticky skúma režijné hlasy a tematické záujmy, ktoré formovali toto kľúčové obdobie, a ponúka pohľad na prepojenie identity, priemyslu a umeleckého vyjadrenia v americkom filme. Corsonove analýzy osvetľujú tvorivé výzvy a úspechy filmárov, ktorí sa pohybovali v komplexnej kultúrnej krajine. Jeho prínosy poskytujú životne dôležitý pohľad, prostredníctvom ktorého možno pochopiť prebiehajúci dialóg medzi kinematografickým zastúpením a spoločenskou kritikou.
Using an auterist lens to challenge the notions of taste, genre and aesthetics that are commonly used to form the cinematic canon, this book explores the twelve films Veber directed between 1976 and 2008. These include Le Jouet (1976), Les fugitifs (1986) and L'emmerdeur (2008).
From 1972 to 1976, Hollywood made an unprecedented number of films targeted at black audiences. But following this era known as “blaxploitation,” the momentum suddenly reversed for black filmmakers, and a large void separates the end of blaxploitation from the black film explosion that followed the arrival of Spike Lee’s She's Gotta Have It in 1986. Illuminating an overlooked era in African American film history, Trying to Get Over is the first in-depth study of black directors working during the decade between 1977 and 1986. Keith Corson provides a fresh definition of blaxploitation, lays out a concrete reason for its end, and explains the major gap in African American representation during the years that followed. He focuses primarily on the work of eight directors—Michael Schultz, Sidney Poitier, Jamaa Fanaka, Fred Williamson, Gilbert Moses, Stan Lathan, Richard Pryor, and Prince—who were the only black directors making commercially distributed films in the decade following the blaxploitation cycle. Using the careers of each director and the twenty-four films they produced during this time to tell a larger story about Hollywood and the shifting dialogue about race, power, and access, Corson shows how these directors are a key part of the continuum of African American cinema and how they have shaped popular culture over the past quarter century.