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Spike Lee has directed, written, produced, and acted in dozens of films that present an expansive, nuanced, proudly opinionated, and richly multifaceted portrait of American society. As the only African-American filmmaker ever to establish a world-class career, Lee has paid acute attention to the experiences of racial and ethnic minorities. But white men and women also play important roles in his movies, and his interest in class, race, and urban life hasn’t prevented his films from ranging over broad swaths of the American scene in stories as diverse as the audiences who view them. His defining trait is a willingness to raise hard questions about contemporary America without pretending to have easy answers; his pictures are designed to challenge and provoke us, not ease our minds or pacify our emotions. The opening words of his 1989 masterpiece Do the Right Thing present his core message in two emphatic syllables: “Wake up!”
Spike Lee’s America is a vibrant and provocative engagement not only with the work of a great filmmaker, but also with American society and politics.- Sales Rank: #1685549 in Books
- Brand: Brand: Polity
- Published on: 2013-01-14
- Original language: English
- Number of items: 1
- Dimensions: 8.20" h x .78" w x 5.50" l, .85 pounds
- Binding: Paperback
- 264 pages
- Used Book in Good Condition
Review
"Though he comes to praise Lee's oeuvre, Sterrit is even-handed with both critics and director."
The Independent
"Perfectly readable, mercifully free of cliched characterisations of the director as an 'angry black man' - and informative enough to recommend as a reference tool for Spike beginners."
Sight & Sound
"Writing perceptively about class, race and recent US history (as well as the movies) Sterritt steers refreshingly far from the academic waffle that can plague this kind of book, and builds a reasoned portrait of one of America's punchiest commentators."
Total Film
"An optimal introduction to the career of one of America’s most prominent filmmakers."
25fps
"Not just an interesting read, the book is also a great educational resource for film students, and a truly excellent map for exploring one of the major genres of African-American film-making."
Historical Journal of Film, Radio and Television
"My admiration for Spike Lee has always been substantial, but thanks to this book I now admire him even more. Although David Sterritt does not blink at the many dilemmas the films present, he has greatly enriched our appreciation as well as our understanding of Spike Lee's cinema."
Krin Gabbard, Stony Brook University
"Since his filmmaking debut in the mid-eighties, Spike Lee has become one of the most influential African American directors of the twentieth and twenty-first centuries. Through clear and cogent prose, David Sterritt also illustrates what makes Lee one of the finest American filmmakers working today."
Paula Massood, Brooklyn College
About the Author
David Sterritt is Chair of the National Society of Film Critics and Professor at Columbia University and the Maryland Institute College of Art.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Doin' the write thing...
By mateo52
While I am loath to admit it, I always benefit - eventually - when some nature of external stimuli compels me into a state of reflexiveness. This time, it was David Sterritt's book that prompted me to hazard self-examination. When I finished his submission, I was disenchanted with many of his postulations regarding Spike Lee's body of work to date; as a film critic and academician he has the credentials to analyze, dissect, and interpret the product of Lee's screenwriting and directorial vision. What was most unsettling is in a copious number of instances, it felt as though he and I had watched entirely different films, to the point I was motivated to queue up a few I have on DVD and seek out a couple of others on streaming services.
I was further reminded of a discussion I had a few years ago with an academic who was ebullient about the writing skills of a new African American author ( at this point I don't even remember who it was that lead to me cooking for myself for a few days) she had discovered as though he was first to write in a particular voice and I pointed out a few predecessors that she was not familiar with because of blind spots in her field of literary vision who may have informed the newer writers' work. She was irritated by my contradiction of her insights just as what much of what Sterritt expounds here fails to correlate with how I would like to believe I see Lee's films...even after I looked at a couple of my old reviews and discovered what was really bothering me was somebody else criticizing the family. Besides, if you get the teams Earl Monroe played for wrong, as far as I am concerned all credibility is lost anyway.
As a title under the Polity Publishing "America through the Lens" series, it appears the book is intended for a general readership rather than an academically focused audience but either way, if he had used dialectic, eponymous and `Brechtian' a couple times more I may have been inspired slap myself into senility with purloined library thesauri. Sterritt's effort which I saw largely supportive of Lee's past works progresses in chronological order from his graduate student films while attending NYU to his most recent theatrical release as of the book's publication date, with greatest emphasis on his earlier films, She's Gotta Have it, School Daze, Do The Right Thing, and X. Later films that the author deems aimed at a wider audience segment are noted but the depth of analysis is clearly less intensive.
It's interesting that as much as Sterritt referenced what he saw as Lee's tendency or intent to address a multiplicity of issues via dialectical juxtaposition, the author tended to employ the same format in his exposition by highlighting commentary from other media critics as well as social scientists and theorists in cultural studies. The primary weakness was his propensity to extemporize his personal impressions from what consistently demonstrated a myopic view, an outlook he occasionally acknowledged as influenced by his own life experience wherein nuances Lee may have addressed in his crafting of a screenplay or directorial path could not be fully embraced by someone coming from a significantly diverse background, writing from a historical position of privilege, arguably incapable of getting in touch with areas of ethnic experience beyond his breath of visceral experience.
While I found numerable comments in the text provocative and occasionally down right annoying, taken as a filmography, the book is a worthwhile reference source. Yet, in greater number of instances, what I ended thinking to myself was, "this guy just can't understand," and even when it appears he might, it comes off as paternalistic.
5 of 7 people found the following review helpful.
BADLY over-written, you are better off just browsing the amazon product pages
By Love Thy Enemy
simply a filmography with synopsis, this book is badly over written. Any author who uses the word eponymous more than once in a work is really pushing it; here we stumble across it in every section, blazing like like a look-how-great-I-am badge on a tourist, even contorting the term to "semi-eponymous" to signify that Son of Sam somehow resembles Summer of Sam.
You are really better off browsing the amazon product pages of this great American director.
Here you find only the synopsis of each film with the occasional interjections of the author's lame opinions based on box office, with the wisdom of Roger Ebert occasionally stolen.
Please peruse this sample sentence whic runs a dozen lines in the published text:
The villains in the Summer of Sam are not only the .44 Caliber Killer and the witch hunters who stomp Ritchie; they are also the sensationalistis mass media that whip up fears to boost their profits, the kings of commerce who peddle cheap sex and porn, the looters who pillage BRooklyn and Harlem during the blackout, and the entire moral climate of the age, which Lee pictures as a virtually anarchic bedlam that encourages everything from the money-fueled licentiousness of a Manhattan sex club to the belligerently sexist behavior of pretty much every male character."
SOMEBODY QUICKLY BUY THIS MAN A FULL STOP PERIOD!
or hire a copy editor.
He slows down. The sentence immediately following this one runs a mere six lines of text.
PLEASE LOOK UP EVERY SPIKE LEE FILM ON AMAZON and get it.
Especially the one most trashed here, a great allegory and multifaceted fable for our times, She Hate Me
and all of the documentaries starting with 4 Little Girls and When the Levees Broke: A Requiem In Four Acts.
1 of 1 people found the following review helpful.
Rare historical value although flow is not good
By A dad
I'm disappointed with the flow of this book. The discussions of movies was intellectual, as expected, but lacking cohesion. It's not just that it doesn't have cohesion in the classic sense. It bored me. And I don't bore easily - not at all.
The redeeming dimension of the book is the sheer amount of relevant film history that Lee loaded it with. In fact, I can't imagine how people come by some of this information as it feels like insider knowledge that nobody would dare expound upon in written form.
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