The 1990s era was a special time for the production of films directed by persons of color. Do the Right Thing (1989), which was produced just on the cusp of this special era and directed by Spike Lee, is a solid achievement within the framework of African American cinema. Many films which came after – Boyz n the Hood (1991), Daughters of The Dust (1991), Juice (1992), and El Mariachi (1992), among others – set the bar high for up-and-coming young directors, yet not many were discussing the importance of female driven narratives. Many of us who were young people at the time were incredibly excited to see any films with people of color in them, therefore it was easy to consume and absorb the sexism within some of the mentioned films. Why weren’t there more films in this special era directed and produced by women of color? How is sexism perfected via the medium of film? The vision of the director together with the cinematographer provides a “bridge” that brings to life the acting of the screenplay. Sexism is perfected when the three critical creatives within a film’s production – director, cinematographer, and screenwriter – conspire to tell a story where female identity is minimized, made invisible, or, worse, objectified within the story arc of a film. Representations of women have often made them out to be femme fatales, submissive, one-dimensional, or overly sexualized. This year, Do the Right Thing is celebrating its 30th anniversary and is still widely being discussed in university classrooms. What continues to be unique about Do the Right Thing and the films that followed was that they captured what it meant to be a young person of color growing up in the US and understanding the political landscape of identity formation within the trenches of racism. With its hip-hop soundtrack, stylistic use of color, low camera angles, and sharp editing, Do the Right Thing begins in a most powerful way with Puerto Riqueña actress Rosie Perez. As the character of Tina, she dances in a very long sequence (over three minutes) that is set to Public Enemy’s “Fight the Power.” Since the film dovetailed with the rise of the hip-hop scene as well as the rise of filmmakers of color, it was the character played by Rosie Perez whom I identified with the most growing up as a young woman. Cinematically, the sequence is seductive, fierce, and lit mostly by red lighting, enhancing Rosie Perez’s tight red dress over thick tights. It is an opening that could have easily led into a powerful character played by Perez. No director making a serious film would spend over three minutes on an opening scene featuring one character and then not bother to fully develop the character in the rest of the film – unless it is this film. The intro, for all its

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女性主导的叙事的重要性

1990年代是生产有色人种电影的特殊时期。恰在这个特殊时代的风口浪尖上，由斯派克·李（Spike Lee）执导的《做正确的事（1989）》是非裔美国人电影框架内的一项坚实成就。之后的许多电影-博伊兹·胡德（1991），尘土飞扬的女儿（1991），Juice（1992）和El Mariachi（1992）等，都为新兴的年轻导演设定了很高的标准，但是，很少有人在讨论女性主导叙事的重要性。当时我们中的许多年轻人都非常兴奋地看到其中有有色人种的电影，因此在其中提到的某些电影中很容易吸收和吸收性别歧视。为什么在这个特殊时代没有更多有色女性导演和制作的电影？如何通过电影媒介完善性别歧视？导演的视野与摄影师的视野提供了一个“桥梁”，使剧本的表演栩栩如生。当电影作品中的三个关键创作者（导演，电影摄影师和编剧）共同讲述一个故事时，女性身份在电影的故事情节中被最小化，变得隐形或变得客观化，那么性别歧视就完美了。妇女的代表经常使她们成为蛇蝎美人，顺从，一维或过度性化。今年，“做正确的事”庆祝成立30周年，在大学教室中仍在广泛讨论。《做正确的事》和随后的电影继续与众不同的是，他们捕捉到了在美国长大的有色人种的含义，并理解了种族主义内部认同形成的政治格局。凭借其嘻哈音乐配乐，色彩的风格使用，较低的摄影机角度和清晰的剪辑，《做正确的事》以一种最有力的方式开始于波多黎各丽卡女演员罗西·佩雷斯（Rosie Perez）。作为蒂娜（Tina）的角色，她以很长的顺序（超过三分钟）跳舞，这是公共敌人的“与力量搏斗”设定的。由于这部电影与嘻哈场景的兴起以及彩色电影制片人的兴高采烈相吻合，因此我所认识的Rosie Perez扮演的角色是年轻时成长最快的一位。电影上的顺序很诱人，凶猛，并且主要由红色照明点亮，从而增强了Rosie Perez的紧身红色连衣裙，而不是厚实的紧身裤。这个开口很容易导致佩雷斯扮演一个强大的角色。没有导演制作一部严肃的电影时，会花三分钟在一个有一个角色的开幕场景上，然后再不费心去在电影的其余部分中充分展现这个角色-除非是这部电影。简介，尽管如此