Tyler Perry has become a significant figure in media due to his undeniable box office success led by his character Madea and popular TV sitcoms House of Payne and Meet the Browns. Perry built a multimedia empire based largely on his popularity among African American viewers and has become a prominent and dominant cultural storyteller. Along with Perry’s success has come scrutiny by some social critics and Hollywood well-knowns, like Spike Lee, who have started to deconstruct the images in Perry’s films and TV shows suggesting, as Lee did, that Perry has used his power to advance stereotypical depictions of African Americans.

The book provides a rich and thorough overview of Tyler Perry’s media works. In so doing, contributors represent and approach their analyses of Perry’s work from a variety of theoretical and methodological angles. The main themes explored in the volume include the representation of (a) Black authenticity and cultural production, (b) class, religion, and spirituality, (c) gender and sexuality, and (d) Black love, romance, and family. Perry’s critical acclaim is also explored.

chapter |12 pages


ByRonald L. Jackson, Jamel Santa Cruze Bell

part |81 pages

Representing Black Authenticity and Cultural Production

chapter |17 pages

Bootlegging Tyler Perry/Tyler Perry as Bootlegger

A Critical Meditation on Madea's Family Reunion 1
ByBryant Keith Alexander

chapter |15 pages

Tyler Perry and the Mantan Manifesto

Critical Race Theory and the Permanence of Cinematic Anti-Blackness
ByBaruti N. Kopano, Jared A. Ball

chapter |10 pages

If the Fat Suit Fits

Fat-Suit Minstrelsy in Black Comedy Films
ByIliana De Larkin

chapter |12 pages

Cool Drag

Black Masculinity in Big Mama Disguise
ByStephane Dunn

chapter |12 pages

Perry versus Cosby, a Different Perspective

Examining the Influence of Black Media on Black Group Consciousness
ByNicole E. Jackson

chapter |13 pages

Tyler Perry and the Cultural Industries

New Model of Cultural Production or a Re-Versioning of the Old
ByMurali Balaji

part |71 pages

Representing Class, Religion, and Spirituality

chapter |17 pages

Life in Black and White

Cautionary Tales of Internalizing Cultural Norms of Race, Class, and Gender in The Family that Preys
ByCerise L. Glenn, Dante L. Johnson

chapter |15 pages

Adapting Tyler Perry

Madea Goes To Jail
ByDeborah E. Barker

chapter |12 pages

Why Did I Get Married—to Her?

Women's Place in Middle-Class Marriage
ByNicole Files-Thompson

chapter |11 pages

“Let The Church Say, ‘Amen!'”

Tyler Perry's Treatment of the African American Church and Pastor in I Can Do Bad All by Myself
ByShauntae Brown White

chapter |14 pages

The Future of the Past

Religion and Womanhood in the Films of Tyler Perry, Eloyce Gist, and Spencer Williams, Jr.
ByRobin R. Means Coleman, Timeka N. Williams

part |87 pages

Representing Gender and Sexuality

chapter |9 pages

The African American Woman on Film

The Tyler Perry Image
ByBishetta D. Merritt, Melbourne S. Cummings

chapter |16 pages

Black Women, Thou Art Produced!

A Womanist Critique of Tyler Perry's Gosperella Productions
ByToniesha L. Taylor

chapter |18 pages

(Mis)Representations of Black Sexuality

Madea versus MaDukes
ByAmber L. Johnson

chapter |14 pages

Getting it “Right?”

African American Women Reading Tyler Perry's Films
ByKennaria Brown, Shannon Baldon, Amber Stanton

part |58 pages

Representing Black Love, Romance, and Family

chapter |13 pages

Passing as a Woman(ist)?

A Look at Black Women's Narratives in Tyler Perry's Films
ByMarcia Alesan Dawkins, Ulli K. Ryder

chapter |18 pages

Representin' the Ladies

A Negotiated Response to Tyler Perry's Portrayal of African American Female Characters
ByRockell Brown, Kimberly D. Campbell

chapter |13 pages

Archetypes of Regression

Depictions and Reflections of Black and Familial Culture in Tyler Perry's Family Reunion
ByTina M. Harris, Emily Porter