Contents

pp v-vi

List of Figures

pp vii-viii

Notes on Contributors

pp ix-x

Acknowledgements

pp xi-xi

Dedication

pp xii-xii

Introduction: Why Steve McQueen Matters

pp 1-14

Part 1

pp 15-16

Chapter 1 - From Exodus to Small Axe: Steve McQueen’s Filmic World of Two Halves

pp 17-29

Chapter 2 - Surplus Liveness and Black Male Performance in Girls, Tricky

pp 30-40

Chapter 3 - Eye Witness: Memorialising Humanity in Steve McQueen’s Hunger

pp 41-58

Chapter 4 - Shame and the City: Subverting Neoliberal, New York Singleton Culture in Shame

pp 59-72

Chapter 5 - If it is to be done, how?: Considering a Robeson Biopic

pp 73-77

Chapter 6 - The Slave Narrative and Filmic Aesthetics: Steve McQueen, Solomon Northup and Colonial Violence

pp 78-95

Chapter 7 - Working for/working with/working against – Widows and the Politics and Poetics of Genre

pp 96-110

Part 2 - Part Title

pp 111-112

Chapter 8 - Is Small Axe Cinema or Television and does it Matter? Discourses of Authorship and Production in the Publicity for Small Axe

pp 113-127

Chapter 9 - Small Axe and/as Cinematic Television

pp 128-143

Chapter 10 - Love in a Cold Climate: Lovers Rock

pp 144-157

Chapter 11 - A Different Kind of Dread: Dub, Ecstasy and Collective Memory in Lovers Rock

pp 158-171

Chapter 12 - The Burden of Expectation: Where are the Women in Steve McQueen’s Small Axe Films?

pp 172-184

Chapter 13 - Boy with Flag and Black British Experience in Handsworth Songs and Red, White and Blue

pp 185-193

Chapter 14 - Small Axe is a Start: An interview with Bernard Coard

pp 194-198

Films and Television Programmes

pp 199-200

Bibliography

pp 201-219

Index

pp 220-226