front cover of Branding Black Womanhood
Branding Black Womanhood
Media Citizenship from Black Power to Black Girl Magic
Timeka N. Tounsel
Rutgers University Press, 2022
CaShawn Thompson crafted Black Girls Are Magic as a proclamation of Black women’s resilience in 2013. Less than five years later, it had been repurposed as a gateway to an attractive niche market. Branding Black Womanhood: Media Citizenship from Black Power to Black Girl Magic examines the commercial infrastructure that absorbed Thompson’s mantra. While the terminology may have changed over the years, mainstream brands and mass media companies have consistently sought to acknowledge Black women’s possession of a distinct magic or power when it suits their profit agendas.

Beginning with the inception of the Essence brand in the late 1960s, Timeka N. Tounsel examines the individuals and institutions that have reconfigured Black women’s empowerment as a business enterprise. Ultimately, these commercial gatekeepers have constructed an image economy that operates as both a sacred space for Black women and an easy hunting ground for their dollars.

 
 
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front cover of Hero Me Not
Hero Me Not
The Containment of the Most Powerful Black, Female Superhero
Chesya Burke
Rutgers University Press, 2023

First introduced in the pages of X-Men, Storm is probably the most recognized Black female superhero. She is also one of the most powerful characters in the Marvel Universe, with abilities that allow her to control the weather itself. Yet that power is almost always deployed in the service of White characters, and Storm is rarely treated as an authority figure. 
 
Hero Me Not offers an in-depth look at this fascinating yet often frustrating character through all her manifestations in comics, animation, and films. Chesya Burke examines the coding of Storm as racially “exotic,” an African woman who nonetheless has bright white hair and blue eyes and was portrayed onscreen by biracial actresses Halle Berry and Alexandra Shipp. She shows how Storm, created by White writers and artists, was an amalgam of various Black stereotypes, from the Mammy and the Jezebel to the Magical Negro, resulting in a new stereotype she terms the Negro Spiritual Woman. 
 
With chapters focusing on the history, transmedia representation, and racial politics of Storm, Burke offers a very personal account of what it means to be a Black female comics fan searching popular culture for positive images of powerful women who look like you. 

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front cover of Infamous Bodies
Infamous Bodies
Early Black Women’s Celebrity and the Afterlives of Rights
Samantha Pinto
Duke University Press, 2020
The countless retellings and reimaginings of the private and public lives of Phillis Wheatley, Sally Hemings, Sarah Baartman, Mary Seacole, and Sarah Forbes Bonetta have transformed them into difficult cultural and black feminist icons. In Infamous Bodies, Samantha Pinto explores how histories of these black women and their ongoing fame generate new ways of imagining black feminist futures. Drawing on a variety of media, cultural, legal, and critical sources, Pinto shows how the narratives surrounding these eighteenth- and nineteenth-century celebrities shape key political concepts such as freedom, consent, contract, citizenship, and sovereignty. Whether analyzing Wheatley's fame in relation to conceptions of race and freedom, notions of consent in Hemings's relationship with Thomas Jefferson, or Baartman's ability to enter into legal contracts, Pinto reveals the centrality of race, gender, and sexuality in the formation of political rights. In so doing, she contends that feminist theories of black women's vulnerable embodiment can be the starting point for future progressive political projects.
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