We need to talk about Nola? She’s Gotta Have It and the Single Black Female in Film.

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In both versions of She’s Gotta Have it, Nola Darling is presented as a sexually liberated, progressive and free-spirited single black women navigating her life in Brooklyn. In theory, she is the anti – stereotype of a black female lead. She’s not a baby mamma, a mammy, sapphire or an overt jezebel. So, what’s the problem? Many have written about Nola, what is your take?

After watching both the original film produced in 1986 and episode one of the new Netflix series that premiered in the Fall of 2017, some 30 years apart. Has Nola changed, stayed the same or gotten worse? And how does she compare to the current images of black women in film and television? Lastly, in the era of reboots, was it necessary for the reincarnation of SGHI and how should a show successful recreate a reboot?

In writing your response, please incorporate the questions in bold, as well as the readings and any articles that help build your argument. Use quotes from the readings and articles and note the source of the quote. Hint – write in a word document and review before posting.

Here are two articles on the new Netflix series;

Does She’s Gotta Have It Live Up to Its Promise?

Was the She’s Gotta Have It Remake Actually Good?

And one on the original film:

She’s Gotta Have It: how Spike Lee’s film revolutionised black sexuality onscreen

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She’s Got to Have It

She's_Gotta_Have_It_film_poster Hoping to continue to the discussion on She’s Got to Have It. Feel free to add comments from our conversation in class about Nola Darling as a symbolic whore.  How does Spike Lee frame her as a sexual deviant? What does it mean to be a good girl in Spike Lee’s world? And would Nola Darling ever fit in? With talk of making She’s Got to Have it into a cable show, along the lines of Girls, could Spike Lee make Nola Darling into the sexually liberated and self affirmed woman he thinks he portrayed her to be? Please review these articles and comment Why we should worry about a resurrected ‘She’s Gotta Have It’