Kameelah L. Martin is associate professor of African American literature at Savannah State University.

• Introduction: Towards a Black Feminist Voodoo AestheticChapter 1: Vintage Hollywood Voodoo: The Black Priestess in 1930s CinemaChapter 2: Mambos, Chickens, and Blood: Disrupting Visual Pleasure in Alan Parker’s Angel HeartChapter 3: For Us, By Us: Black Feminist Narratives of Resistance in the Independent Films of Julie Dash and Kasi LemmonsChapter 4: Subversion and Entertainment: Elegba, Trickery, and Black Female Absence in The Skeleton Key Ch. 5: Voodoo in Disneyland?: Spiritual Appropriation by the Mouse; or Imagineered Voodoo AestheticsEpilogue: “‘Good Wickedry’: Beyoncé and the Black Feminist Voodoo Aesthetics of LemonadeAbout the Author

Overall, with Envisioning Black Feminist Voodoo Aesthetics Martin offers a strong resource for both research and classroom usage. Her writing style and narrative voice invite the reader to engage with the presented material in an enjoyable and thoughtful manner. There are vivid descriptions of the cinematic elements and imagery under evaluation, accompanied by rigorous unpacking of those sequences. Additionally, when needed Martin includes visual stills from the films to further clarify the imagery and her perspectives. Martin constructs a narrative space that allows the reader to follow along with her critical viewing, whether or not one has seen the specific film in question. . . Martin’s methodology offers other scholars a template on how to engage the existing stereotypes of non-Protestant Christian religious representation in cinematic and popular culture that are rooted in historical perspectives that perpetuate racist and sexist tropes created by nonpractitioners of that religious practice.

Kameelah L. Martin is associate professor of African American literature at Savannah State University.

• Introduction: Towards a Black Feminist Voodoo AestheticChapter 1: Vintage Hollywood Voodoo: The Black Priestess in 1930s CinemaChapter 2: Mambos, Chickens, and Blood: Disrupting Visual Pleasure in Alan Parker’s Angel HeartChapter 3: For Us, By Us: Black Feminist Narratives of Resistance in the Independent Films of Julie Dash and Kasi LemmonsChapter 4: Subversion and Entertainment: Elegba, Trickery, and Black Female Absence in The Skeleton Key Ch. 5: Voodoo in Disneyland?: Spiritual Appropriation by the Mouse; or Imagineered Voodoo AestheticsEpilogue: “‘Good Wickedry’: Beyoncé and the Black Feminist Voodoo Aesthetics of LemonadeAbout the Author

Overall, with Envisioning Black Feminist Voodoo Aesthetics Martin offers a strong resource for both research and classroom usage. Her writing style and narrative voice invite the reader to engage with the presented material in an enjoyable and thoughtful manner. There are vivid descriptions of the cinematic elements and imagery under evaluation, accompanied by rigorous unpacking of those sequences. Additionally, when needed Martin includes visual stills from the films to further clarify the imagery and her perspectives. Martin constructs a narrative space that allows the reader to follow along with her critical viewing, whether or not one has seen the specific film in question. . . Martin’s methodology offers other scholars a template on how to engage the existing stereotypes of non-Protestant Christian religious representation in cinematic and popular culture that are rooted in historical perspectives that perpetuate racist and sexist tropes created by nonpractitioners of that religious practice.

Kameelah L. Martin is associate professor of African American literature at Savannah State University.

• Introduction: Towards a Black Feminist Voodoo AestheticChapter 1: Vintage Hollywood Voodoo: The Black Priestess in 1930s CinemaChapter 2: Mambos, Chickens, and Blood: Disrupting Visual Pleasure in Alan Parker’s Angel HeartChapter 3: For Us, By Us: Black Feminist Narratives of Resistance in the Independent Films of Julie Dash and Kasi LemmonsChapter 4: Subversion and Entertainment: Elegba, Trickery, and Black Female Absence in The Skeleton Key Ch. 5: Voodoo in Disneyland?: Spiritual Appropriation by the Mouse; or Imagineered Voodoo AestheticsEpilogue: “‘Good Wickedry’: Beyoncé and the Black Feminist Voodoo Aesthetics of LemonadeAbout the Author

Overall, with Envisioning Black Feminist Voodoo Aesthetics Martin offers a strong resource for both research and classroom usage. Her writing style and narrative voice invite the reader to engage with the presented material in an enjoyable and thoughtful manner. There are vivid descriptions of the cinematic elements and imagery under evaluation, accompanied by rigorous unpacking of those sequences. Additionally, when needed Martin includes visual stills from the films to further clarify the imagery and her perspectives. Martin constructs a narrative space that allows the reader to follow along with her critical viewing, whether or not one has seen the specific film in question. . . Martin’s methodology offers other scholars a template on how to engage the existing stereotypes of non-Protestant Christian religious representation in cinematic and popular culture that are rooted in historical perspectives that perpetuate racist and sexist tropes created by nonpractitioners of that religious practice.