Abstract

In 2017, the audiovisual content platform Netflix presents She’s Gotta Have It, a story based on the Spike Lee film filmed in 1986, both of them share the name and the director. We will work some questions of the first season that consists of ten chapters, of approximately thirty minutes each, with an adapted script. Nola Darling returns; black woman, activist and artist who lives in Booklyn, and finds herself permanently searching her own identity. In this journey, her aspiration in the profession and the events that name her as a woman coincide. Nola resists all alienation to a name, and it is sustained by multiplying the others that it invents. This solution is not enough when it comes to addressing the real traumatic event. The director shows us the contrast between a neighborhood full of identity references, with its images, its films, its discs and a woman who idealizes the feminine black form, to the point that whenever something represents it, it is not. In the Rashomon (Jingo, 1950) mode everyone looks at it from a perspective, but there is no finished form. Nola knows that there Woman does not exist, but believes in her and creates a way to make her exist, without naming her, without being her.

Keywords: Identity | Brooklyn | Lee | body | African American | Psychoanalysis