Pressure Drop

Abstract

Research Article| June 01 2021 Pressure Drop: A “Small Axe” Introduction Michael Boyce Gillespie Michael Boyce Gillespie Michael Boyce Gillespie is a film professor at The City College of New York and The Graduate Center, CUNY. His research and writing focuses on black visual and expressive culture, film theory, visual historiography, popular music, and contemporary art. He is author of Film Blackness: American Cinema and the Idea of Black Film (Duke University Press, 2016) and co-editor (with Lisa Uddin) of Black One Shot, an art criticism series on ASAP/J. His recent work has appeared in Black Light: A Retrospective of International Black Cinema, Flash Art, Unwatchable, ASAP/J, and Ends of Cinema. Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2021) 74 (4): 48–50. https://doi.org/10.1525/fq.2021.74.4.48 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Michael Boyce Gillespie; Pressure Drop: A “Small Axe” Introduction. Film Quarterly 1 June 2021; 74 (4): 48–50. doi: https://doi.org/10.1525/fq.2021.74.4.48 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentFilm Quarterly Search Some bodies are deemed as having the right to belong, while others are marked out as trespassers, who are, in accordance with how both spaces and bodies are imagined (politically, historically and conceptually), circumscribed as being “out of place.” Not being the somatic norm, they are space invaders.—Nirmal PuwarIdentity is not as transparent or unproblematic as we think. Perhaps instead of thinking of identity as an already accomplished fact, which the new cultural practices then represent, we should think, instead, of identity as a “production,” which is never complete, always in process, and always constituted within, not outside, representation. This view problematises the very authority and authenticity to which the term, “cultural identity,” lays claim.—Stuart Hall Steve McQueen’s anthology film series “Small Axe” (2020) enacts a visual historiography of West Indian life in London from the Windrush generation of the 1960s through the early 1980s.1 Across... You do not currently have access to this content.