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Abstract

In this article, I argue that recent Black American narratives on Netflix intersect with and can be understood through principles of world cinema. Black American narratives have long existed outside of the Hollywood conventions that often serve as a line of demarcation in world cinema scholarship. Building on Lúcia Nagib’s definition of world cinema () and her concept of realistic modes of production (2020a/2020b), I show how contemporary Black American narratives on Netflix are sustaining a diasporic perspective. Although originating in the US, its marginalized production and preoccupations with colonial dynamics or racial and geographical inequality help to regard this content as a mode of world cinema. Moreover, as In Our Mothers’ Gardens () and High on the Hog () demonstrate, these connections with world cinema have been intensified by Netflix’s production model.

Open Access
In: Studies in World Cinema