The Fits (2015), The Hate U Give (2018), Girlhood (2014), and See You Yesterday (2019) mark a five-year span of contemporary on-screen performances of Black girlhood in the independent, major, international, and small-screen film scenes. In this article, I discuss these films alongside movie posters, a book cover, and casting and music choices in order to pinpoint how Black girls become raged upon by their communities, experience emotional rage as an affective response to violence and trauma, and are promoted as all-the-rage icons. I assert that Black girls do not come of age but rather come of (r)age. As evidence, I define four articulations of rage: to become raged upon, to rage against, to become all the rage, and to become enraged. By identifying coming of (r)age as a new genre for contemporary films about Black girlhood, I trouble existing notions about the mediated representations of Black girls by highlighting rage as an integral part of their survival as they transition into Black women.

中文翻译：

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(R) 时代的到来：关于黑人少女时代的当代叙事新类型

The Fits (2015)、The Hate U Give (2018)、Girlhood (2014) 和 See You Yesterday (2019) 标志着黑人少女时代在独立、专业、国际和小屏幕电影场景。在本文中，我将讨论这些电影以及电影海报、书籍封面以及演员和音乐选择，以查明黑人女孩如何被社区激怒，将情绪愤怒作为对暴力和创伤的情感反应，并被提升作为风靡一时的偶像。我断言黑人女孩不是成年的，而是成年的。作为证据，我定义了愤怒的四种表达方式：变得愤怒，愤怒反对，变得非常愤怒，以及变得愤怒。通过将 (r)age 的到来确定为关于黑人少女时代的当代电影的新类型，