‘Prism’ Review: An Experimental Doc on How the Camera Captures Black Subjects, for Better and Worse

‘Prism’ Review: An Experimental Doc on How the Camera Captures Black Subjects, for Better and Worse
Back in 2017, quite a bit of media coverage was dedicated to the cinematography on the popular HBO dramedy “Insecure.” Issa Rae’s critically acclaimed series was heralded as an innovator for its ability to consistently capture the richness of Black skin on camera. And it’s true — “Insecure” lights and frames Black faces with warmth and beauty.

But the truth is, Black directors and cinematographers have always found ways to shoot Black skin glamorously. Barry Jenkins’ Best Picture winner “Moonlight,” shot by his frequent collaborator James Paxton, was released just the year before, with its purple and blue hues making every Black face look like a rich oil painting. From the work of Julie Dash and Spike Lee to the more contemporary Dee Rees and Ryan Coogler, we can pull a plethora of images capturing all the nuances of dark skin.

The difference now is that white filmmakers have been
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