Abstract Summary/Description
This project defines and argues for the Black Social Cut as a pivotal social phenomenon that intervenes in cinema through distinct editing practices. The Black Social Cut represents the intersection of Black cultural expression, resilience, and resistance, which manifests both socially and cinematically. By examining Richard Pryor: Live on the Sunset Strip (1983) as a seminal example of Black aesthetics, this study aims to define the key characteristics and functions of the Black Social Cut by positing that editing practices that emphasize fragmentation, juxtaposition, and rhythmic pacing, reflect the complex realities of Black life and provide a powerful means of storytelling. These practices not only enhance the visual and narrative impact of Black cinema but also serve as tools for cultural resistance and community engagement. Further, my project explores the continuation and extension of the Black Social Cut through the works of Eddie Murphy and Tiffany Haddish. Murphy’s and Haddish’s comedic performances and their use of digital platforms exemplify how the Black Social Cut evolves with technological advancements, maintaining its relevance and impact. Their work underscores the importance of the Black Social Cut in both cinema and community, demonstrating its role in fostering collective identity and resilience. By synthesizing theoretical perspectives from Black Studies, critical race theory, film studies, and performative theories, this research will provide a comprehensive framework for understanding the Black Social Cut. The project aims to highlight its enduring legacy and transformative power in shaping cultural discourse and challenging systemic oppression, emphasizing the necessity of this aesthetic theory for contemporary media studies. KEY WORDS: black standup comedy, the Black Social Cut, cinematic techniques, cultural identity, social resistance
