Womanist and Black Feminist Responses to Tyler Perry’s Productions

Front Matter....Pages i-xviii
Introduction....Pages 1-13
Filmography....Pages 15-24
Front Matter....Pages 25-25
Tyler Perry Reads Scripture....Pages 27-40
Signifying Love and Embodied Relationality: Toward a Womanist Theological Anthropology....Pages 41-56
Jesus Will Fix It, After While: The Purpose and Role of Gospel Music in Tyler Perry Productions....Pages 57-72
Screening God....Pages 73-88
Front Matter....Pages 89-89
“A People That Would Take Care of Ourselves”: Tyler Perry’s Vision of Community and Gender Relations....Pages 91-106
“It Ain’t Where You Comin’ from, Honey”: Class, Social Mobility, and Marriage in Tyler Perry’s Madea’s Family Reunion....Pages 107-123
Mad Black Bitches and Ladylike Saints: Representations of African American Womanhood in Tyler Perry Films....Pages 125-146
(Re)Mediating Black Womanhood: Tyler Perry, Black Feminist Cultural Criticism, and the Politics of Legitimation....Pages 147-162
Front Matter....Pages 163-163
Pause, Auntie Momma! Reading Religion in Tyler Perry’s Fat Drag....Pages 165-186
Madea vs. Medea: Agape and the Militarist or Murderous Maternal....Pages 187-200
Front Matter....Pages 201-201
Tyler Perry and the (Mis)Representation of Religious Morality....Pages 203-216
“Do You Want to Be Well?” The Gospel Play, Womanist Theology, and Tyler Perry’s Artistic Project....Pages 217-233
Talking Back and Taking My “Amens” with Me: Tyler Perry and the Narrative Colonization of Black Women’s Stories....Pages 235-249
Afterword....Pages 251-253
Back Matter....Pages 255-277