Brecht, emotion, and the reflective spectator: The case of BLACKKKLANSMAN

This article argues that ‘late Brechtian’ theory about the relationship between the play/film design and the spectator’s experience, especially in regard to emotion, has much to teach about reflective spectatorship. A film that mixes characteristics of counter cinema and mainstream cinema may be the most effective in generating reflective, critical spectatorship. The article presents an analysis of Spike Lee’s BlacKkKlansman to show how this might work. It argues that late Brechtian screen stories such as BlacKkKlansman should not be seen as solely alienating or estranging, but may also powerfully engage spectators through emotion and empathy.