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A Very Present Help: Motifs of Jesus in Tyler Perry Film Parables = = Una muy presente ayuda: Motivos de Jesus en Tyler Perry Film Parables.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A Very Present Help: Motifs of Jesus in Tyler Perry Film Parables =/
其他題名:	Una muy presente ayuda: Motivos de Jesus en Tyler Perry Film Parables.
作者:	Johnson, Melanie.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	256 p.
附註:	Source: Dissertations Abstracts International, Volume: 79-11, Section: A.
Contained By:	Dissertations Abstracts International79-11A.
標題:	African American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10790103
ISBN:	9780355951622

A Very Present Help: Motifs of Jesus in Tyler Perry Film Parables = = Una muy presente ayuda: Motivos de Jesus en Tyler Perry Film Parables.
Johnson, Melanie.

A Very Present Help: Motifs of Jesus in Tyler Perry Film Parables =Una muy presente ayuda: Motivos de Jesus en Tyler Perry Film Parables. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 256 p.

Source: Dissertations Abstracts International, Volume: 79-11, Section: A.

Thesis (Ph.D.)--The Claremont Graduate University, 2018.

This item is not available from ProQuest Dissertations & Theses.

This dissertation is a hermeneutical project about the interpretation of religious texts (in this case, films) as framed by the author's stated intention for his work. In his May 7, 2016 commencement speech at Tuskegee University, Tyler Perry responded to criticism of his work by African American scholars stating that they failed to understand his intention. This project considers critiques of several contributors to Womanist and Black Feminist Responses to Tyler Perry's Productions (2014) and those of a panel of African American scholars from across disciplines at Madea's Big Scholarly Roundtable. In his speech, Perry stated that he intends first to uplift his African American audiences by "telling all shades" of their stories, and, second, to "name the name of Jesus" in his productions. I argue that Tyler Perry films function as religious or quasi-religious parables through by framing stories in a decidedly Christian ethical and religious manner that name the name of Jesus, as "a very present help in times of trouble." Womanist theologian Jacquelyn Grant describes the black woman's understanding and perception of Jesus in her article, "Womanist Jesus:" "In the experiences of Black women, Jesus was ever-present; he has commonly been perceived and experienced as being present in 'times of trouble.'" Through the stories of his predominantly female protagonists, Perry illustrates Jacqueline Grant's concept of the black woman's Jesus-"ever-present help in times of trouble." Analysis of Perry's intention occasions the application of contemporary scholarship in auteur (author) theory within film studies. Predominantly discussed herein is the work of Cecilia Sayad, who examines the auteur-creative on a journey of self-revelation through corporeal presence and projections of self-exhibited in his work. British filmmaker and theorist Peter Wollen's discussion of auteur theory sets both foundation and parameters for focusing on the motifs of Jesus examined herein: "What auteur theory does is take a group of films-the work of one director-and analyze their structure. Everything irrelevant to this, everything non-pertinent, is considered logically secondary, contingent, to be discarded." This dissertation focuses on the "structure," which Wollen explains is determined using basic motifs: One essential corollary of the theory as it has been developed is the discovery that the defining characteristics of an author's work are not necessarily those that are most readily apparent. The purpose of criticism thus becomes to uncover behind the superficial contrasts of subject and treatment a hard core of basic and often recondite motifs. The pattern formed by these motifs...is what gives an author's work its structure, both defining it internally and distinguishing one body of work from another. The motifs examined herein are ministers, mothers, mountains, and music respectively in I Can Do Bad All by Myself (2009), Daddy's Little Girls (2007), Why Did I Get Married? (2007), and Diary of a Mad Black Woman (2005). Neither defending nor countering criticisms of Perry's work by African American scholars, this dissertation suggests that intention as criteria for analysis is a fair method by which evaluate Perry's work for both the academy and Perry's audiences.

ISBN: 9780355951622Subjects--Topical Terms:

1669123
African American Studies.
Subjects--Index Terms:

African American hermeneutics

A Very Present Help: Motifs of Jesus in Tyler Perry Film Parables = = Una muy presente ayuda: Motivos de Jesus en Tyler Perry Film Parables.
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500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Espinosa, Gaston.
502 $a Thesis (Ph.D.)--The Claremont Graduate University, 2018.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation is a hermeneutical project about the interpretation of religious texts (in this case, films) as framed by the author's stated intention for his work. In his May 7, 2016 commencement speech at Tuskegee University, Tyler Perry responded to criticism of his work by African American scholars stating that they failed to understand his intention. This project considers critiques of several contributors to Womanist and Black Feminist Responses to Tyler Perry's Productions (2014) and those of a panel of African American scholars from across disciplines at Madea's Big Scholarly Roundtable. In his speech, Perry stated that he intends first to uplift his African American audiences by "telling all shades" of their stories, and, second, to "name the name of Jesus" in his productions. I argue that Tyler Perry films function as religious or quasi-religious parables through by framing stories in a decidedly Christian ethical and religious manner that name the name of Jesus, as "a very present help in times of trouble." Womanist theologian Jacquelyn Grant describes the black woman's understanding and perception of Jesus in her article, "Womanist Jesus:" "In the experiences of Black women, Jesus was ever-present; he has commonly been perceived and experienced as being present in 'times of trouble.'" Through the stories of his predominantly female protagonists, Perry illustrates Jacqueline Grant's concept of the black woman's Jesus-"ever-present help in times of trouble." Analysis of Perry's intention occasions the application of contemporary scholarship in auteur (author) theory within film studies. Predominantly discussed herein is the work of Cecilia Sayad, who examines the auteur-creative on a journey of self-revelation through corporeal presence and projections of self-exhibited in his work. British filmmaker and theorist Peter Wollen's discussion of auteur theory sets both foundation and parameters for focusing on the motifs of Jesus examined herein: "What auteur theory does is take a group of films-the work of one director-and analyze their structure. Everything irrelevant to this, everything non-pertinent, is considered logically secondary, contingent, to be discarded." This dissertation focuses on the "structure," which Wollen explains is determined using basic motifs: One essential corollary of the theory as it has been developed is the discovery that the defining characteristics of an author's work are not necessarily those that are most readily apparent. The purpose of criticism thus becomes to uncover behind the superficial contrasts of subject and treatment a hard core of basic and often recondite motifs. The pattern formed by these motifs...is what gives an author's work its structure, both defining it internally and distinguishing one body of work from another. The motifs examined herein are ministers, mothers, mountains, and music respectively in I Can Do Bad All by Myself (2009), Daddy's Little Girls (2007), Why Did I Get Married? (2007), and Diary of a Mad Black Woman (2005). Neither defending nor countering criticisms of Perry's work by African American scholars, this dissertation suggests that intention as criteria for analysis is a fair method by which evaluate Perry's work for both the academy and Perry's audiences.
520 $a Esta disertacion es un proyecto hermeneutico sobre la interpretacion de textos religiosos (en este caso, peliculas) enmarcado por la intencion declarada del autor para su trabajo. En su discurso de graduacion del 7 de mayo de 2016 en la Universidad de Tuskegee, Tyler Perry respondio a las criticas de su trabajo por parte de academicos afroamericanos al afirmar que no entendieron su intencion. Este proyecto considera las criticas de varios contribuyentes a Womanist y Black Feminist Responses to Tyler Perry's Productions (2014) y las de un panel de academicos afroamericanos de todas las disciplinas en la Big Educational Roundtable de Madea.En su discurso, Perry declaro que primero tiene la intencion de elevar a sus audiencias afroamericanas al "contar todas las sombras" de sus historias y, en segundo lugar, a "nombrar el nombre de Jesus" en sus producciones. Argumento que las peliculas de Tyler Perry funcionan como parabolas religiosas o cuasirreligiosas al enmarcar historias de manera decididamente cristiana, etica y religiosa, que llevan el nombre de Jesus, como "una ayuda muy presente en tiempos de problemas".La teologa mujerista Jacquelyn Grant describe la comprension y percepcion de Jesus sobre la mujer negra en su articulo, "Jesusist Womanist": "En las experiencias de las mujeres negras, Jesus estuvo siempre presente; comunmente ha sido percibido y experimentado como presente en los "tiempos de problemas". A traves de las historias de sus protagonistas predominantemente femeninas, Perry ilustra el concepto de Jacqueline Grant del Jesus de la mujer negra: "ayuda siempre presente en tiempos de problemas".El analisis de la intencion de Perry ocasiona la aplicacion de la erudicion contemporanea en la teoria del autor (autor) dentro de los estudios cinematograficos. Lo que se discute predominantemente en este documento es el trabajo de Cecilia Sayad, quien examina el autor-creativo en un viaje de autorrevelacion a traves de la presencia corporea y las proyecciones del yo exhibidas en su trabajo.La discusion del cineasta y teorico britanico Peter Wollen sobre la teoria del autor establece los fundamentos y parametros para enfocarse en los motivos de Jesus examinados aqui: "Lo que la teoria de autor hace es tomar un grupo de peliculas -el trabajo de un director- y analizar su estructura. Todo lo irrelevante para esto, todo lo no pertinente, se considera logicamente secundario, contingente, para ser descartado ". Esta disertacion se centra en la" estructura ", que segun explica Wollen esta determinada por motivos basicos:Un corolario esencial de la teoria tal como se ha desarrollado es el descubrimiento de que las caracteristicas definitorias del trabajo de un autor no son necesariamente las que resultan mas evidentes. El proposito de la critica se convierte entonces en descubrir detras de los contrastes superficiales del sujeto y el tratamiento un nucleo duro de motivos basicos ya menudo reconditos. El patron formado por estos motivos ... es lo que le da al trabajo de un autor su estructura, definiendolo internamente y distinguiendo un cuerpo de trabajo de otro.Los motivos examinados en este documento son ministros, madres, montanas y musica, respectivamente, en I Can Do Bad All by Myself (2009), Daddy's Little Girls (2007), ¿Por que me case? (2007), y Diario de una mujer negra loca (2005).Ni defendiendo ni contrarrestando las criticas al trabajo de Perry por parte de academicos afroamericanos, esta disertacion sugiere que la intencion como criterio de analisis es un metodo justo mediante el cual se evalua el trabajo de Perry tanto para la academia como para el publico de Perry.
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