Overall, with Envisioning Black Feminist Voodoo Aesthetics Martin offers a strong resource for both research and classroom usage. Her writing style and narrative voice invite the reader to engage with the presented material in an enjoyable and thoughtful manner. There are vivid descriptions of the cinematic elements and imagery under evaluation, accompanied by rigorous unpacking of those sequences. Additionally, when needed Martin includes visual stills from the films to further clarify the imagery and her perspectives. Martin constructs a narrative space that allows the reader to follow along with her critical viewing, whether or not one has seen the specific film in question. . . Martin’s methodology offers other scholars a template on how to engage the existing stereotypes of non-Protestant Christian religious representation in cinematic and popular culture that are rooted in historical perspectives that perpetuate racist and sexist tropes created by nonpractitioners of that religious practice.

Journal of Religion and Film

In this highly original and impeccably researched book, Kameelah Martin examines representations of black women in visual media, from Walt Disney films to black independent cinema, and from Hollywood Voodoo movies to Beyoncé’s Lemonade. A rich, comprehensive analysis of depictions of black female healers, spirit workers, and priestesses in historical narratives and contemporary expressions of African-derived spirituality, Envisioning Black Feminist Voodoo Aesthetics shines as an outstanding work of literary criticism and interdisciplinary scholarship that greatly enhances our knowledge of the significant intersections between gender, race, religion, and popular culture. This book is especially valuable for readers in academic fields such as Africana Studies, Film Studies, History, and Religion.

Yvonne Chireau, Swarthmore College

Kameelah Martin’s Envisioning Black Feminist Voodoo Aesthetics is a unique book long overdue in its serious assessment of the black priestess figure in popular cinema and art films. From the demonized representations of conjure women in early 1930s Hollywood movies to Lisa Bonet’s infamous portrait in Angel Heart from 1987, to the black feminist re-presentations of African spirituality offered in Julie Dash’s Daughters of the Dust and Kasi Lemmons’ Eve’s Bayou, Martin makes a compelling case for the need for black women’s counter aesthetics and “spirit work” when measured against the more popularized tropes of Voodoo practitioners as cunning, “magical,” and “mysterious” figures, which continue in such millennial films as The Skeleton Key and in Disney franchises like Pirates of the Caribbean and The Princess and the Frog. When even pop star Beyoncé casts herself in this light, with her groundbreaking visual album Lemonade, Martin is most successful in advocating for the power of transformative consciousness and healing rituals, represented by the black priestess and sustained in Black Atlantic feminist practices.

Janell C. Hobson, University at Albany-SUNY

Riveting reading. Eye-opening! Searing in its unwavering critique and indictment of America’s deliberate demonization of Haiti and Haitian Vodun that informed Hollywood’s stereotyped and xenophobic portrayal of Vodun/voodoo, Kameelah Martin’s Envisioning Black Feminist Voodoo Aesthetics offers a well-researched, brilliant analysis of Hollywood cinema that variously portrays Haitian voodoo. Employing her “black feminist voodoo aesthetic,” Martin critically examines “vintage Hollywood Voodoo,” from the early 1930’s Love Wanga, Chloe, Love is Calling, Devil’s Daughter and later Hollywood films, like The Skeleton Key, Angel Heart, Pirates of the Caribbean, andDisney’s The Princess and the Frog. This exceptional text is an absolute must read for all literary and film scholars and critics who are interested in African spirituality, its history, and its various manifestations.

Georgene Bess Montgomery, Clark Atlanta University

Envisioning Black Feminist Voodoo Aesthetics: African Spirituality in American Cinema paints a provocative picture of where and when black women religious figures enter the popular visual imaginary. In it, Martin makes a compelling case for considering the visual implications of black women’s spiritual appropriation anew, and includes wide-ranging forms—from popular and independent film to the imagery represented in Beyoncé’s visual album Lemonade (2016)—to reveal how they resist, engineer, or “imaginer” a black female “Voodoo aesthetic.” While recent scholarship has explored the complex ways black women are depicted in popular film, few works have attended to visual representations through the lens of religion, spirituality, and especially, the role of the black priestess figure. Envisioning Black Feminist Voodoo Aesthetics does exactly that, and lays bare the varied possibilities of black female spirituality in the moving image form. This text is a must read for those interested in Black Feminist Studies, Film and Media Studies, Religious Studies, and Africana Studies.

LeRhonda S. Manigault-Bryant, Williams College