The Representation Of African Americans In School Daze, Directed By Spike Lee

It has been said that, “Literature you read that you like is a good book, but literature that you remember is a work of art.” Films are considered visual literature because they use visual imagery to evoke emotions and spark important conversations. It is necessary to offer audiences an opportunity to broaden their understanding of what they already know and take action. That is what Spike Lee strives to do. Spike Lee is considered one of the most influential black filmmakers due to his ability to address important social and political views through his work as well as change the representation of African Americans in Hollywood. His films often explore topics of race, gender, identity, and social justice as well as his distinctive film style

It is frequently distinguished by the use of handheld cameras, natural lighting, and a concentration on documenting the day-to-day life of its subjects. School Daze can be considered an observational film as it presents a realistic portrayal of the social and political issues facing the black community at a historically black university. In order to maintain a sense of intimacy and authenticity; the movie uses aspects of handheld cameras and naturalistic lighting. For example, in the Gammite crossing over sequence we see the camera pan to each man as members of the Gammas mock and badger them trying to get them to quit. This camera technique creates a sense of movement and energy, submerging the viewer into the world of the film making the scene feel more

As a black filmmaker, Lee had a lot of pressure to “do the right thing” from the African American community because of his success and his rise to fame during a period of political and cultural consciousness. People were aware of his willingness to address pressing topics in a manner that was both elegant and likely to elicit thought and explore the complexities of black identity and culture. But his efforts were in vain due to the older black generations’ opinion on the overall theme of his film. It “generated serious concern for an older generation of black college administrators who themselves remain committed to the notion of promoting respectable – or in other word, bourgeois – images of blackness” (118). Even though Lee used satire and humor as a way of discussing reality, it rubbed them the wrong way because it still put African Americans in a negative light and were counterproductive in advancing the status of African Americans in