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Sounds of Power: Gospel Music Repres...

Wiggins, Raynetta M.

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Sounds of Power: Gospel Music Representation in Contemporary Feature Film.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sounds of Power: Gospel Music Representation in Contemporary Feature Film./
Author:	Wiggins, Raynetta M.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	293 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
Contained By:	Dissertations Abstracts International80-02A.
Subject:	African American Studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10842063
ISBN:	9780438303454

Sounds of Power: Gospel Music Representation in Contemporary Feature Film.
Wiggins, Raynetta M.

Sounds of Power: Gospel Music Representation in Contemporary Feature Film. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 293 p.

Source: Dissertations Abstracts International, Volume: 80-02, Section: A.

Thesis (Ph.D.)--Indiana University, 2018.

This item must not be added to any third party search indexes.

Black Christian worship and music have been commonly featured in depictions of African Americans since the development of sound film in the 1920s. While some of these representations have reflected the character of worship and music as experienced by African American Christians, more often, Black churches and their music are portrayed in films in ways that rarely reflect culturally-derived religious or musical perspectives. Though African Americans are frequently identified and pursued as writers, directors, and performing artists in these projects, systematic racial bias has historically excluded African Americans from brokering more definitive positions of power. Consequently, final control of the film narrative typically rests in the hands of non-Black (read: white) decision makers. While such scholars as historian of religion Judith Weisenfeld (2007) film historian Thomas Cripps (1977) have discussed the ways in which Black religion has been used to portray African Americans as intellectually inferior, Black religious music itself has received marginal treatment in such texts. Focusing specifically on Black musical and worship representation, this research addresses this lacuna exploring the ways in which race and power are negotiated in two interconnected spaces - behind the camera among audiovisual producers and within the narrative of the film. I draw on scholarship from the fields of ethnomusicology, film studies, cultural studies, and history to analyze six films - Sister Act (1992), Sister Act 2: Back in the Habit (1993), The Preacher's Wife (1996), Fighting Temptations (2003), The Gospel (2005), and Diary of a Mad Black Woman (2005) which represent a variety of narrative and musical interpretations of gospel music. My analysis is also informed by interviews with film personnel associated with these productions. I conclude that representations of African American sacred music in feature film is a layered and complex process involving several key players whose individual objectives are often varied and even competing. Nevertheless, the presence and influence of African Americans in seminal positions of power result in a more nuanced and culturally substantive representations of Black music and worship.

ISBN: 9780438303454Subjects--Topical Terms:

1669123
African American Studies.
Subjects--Index Terms:

African American

Sounds of Power: Gospel Music Representation in Contemporary Feature Film.
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