Introduction MIA MASK
In the 1990s scholars like Manthia Diawara, Clyde Taylor, Ed Guerrero and Mark Reid were analyzing the aesthetic realism of New Black Cinema, which had recently emerged on the national scene. Their scholarly contributions galvanized Cinema Studies by enriching the discourse and by expanding the discipline. They also inspired a new generation of younger scholars of color, while inviting colleagues of all ethnic and racial backgrounds to seriously address African American ﬁ lm production, black avantgarde ﬁ lm aesthetics and contemporary theoretical analysis. For example, Diawara’s collection of essays, along with the scholarship of Valerie Smith, Jacqueline Bobo, Gwendolyn Audrey Foster, Tommy Lott, Frank Ukadike and Haile Gerima, to name a few, demonstrated the existence of a critical community in dialogue with young ﬁ lmmakers of the black diaspora. The new black realist ﬁ lms of Spike Lee, the Hudlin brothers, John Singleton, F. Gary Gray, the Hughes brothers, Carl Franklin and Darnell Martin would be followed by the romantic comedies, family dramas, action ﬁ lms and social problem pictures directed by Antoine Fuqua, Kasi Lemmons, Gina Prince Bythewood, Denzel Washington, Sanaa Hamri, Lee Daniels and Tyler Perry.