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From Madea to Media MogulTheorizing Tyler Perry$
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TreaAndrea M. Russworm, Samantha N. Sheppard, and Karen M. Bowdre

Print publication date: 2016

Print ISBN-13: 9781496807045

Published to University Press of Mississippi: January 2018

DOI: 10.14325/mississippi/9781496807045.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 01 April 2020

Worship at the Altar of Perry: Spectatorship and the Aesthetics of Testimony

Worship at the Altar of Perry: Spectatorship and the Aesthetics of Testimony

Chapter:
(p.72) Chapter Four Worship at the Altar of Perry: Spectatorship and the Aesthetics of Testimony
Source:
From Madea to Media Mogul
Author(s):

Brandeise Monk-Payton

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781496807045.003.0004

In “Worship at the Altar of Perry: Spectatorship and the Aesthetics of Testimony,” Brandeise Monk-Payton encourages us to think more richly about the relationship between affect and testimony that is available to fans of Perry’s content. Calling Perry’s affective effect on his audiences a “cinematic ministry” that is replete with scenes of pulpit-like testimony, Monk-Payton examines faith-based affect as a type of responsiveness that characterizes intimate encounters with Perry’s films. In her reading of Perry’s 2012 film, Good Deeds, Monk-Payton theorizes that Perry, as title character Wesley Deeds, “testifies” for his fans using a mode of “cinematic address” that is predicated on the affective desire for the audience to engage in a version of African American expressivity.

Keywords:   Aesthetics, Cinematic Address, Faith, Spectatorship, Testimony

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