In the current era of Black Hollywood, commercial success pressures Black filmmakers to assimilate into a cinematic framework shaped by Western imperialism, resulting in what this dissertation terms "White Cinema in Blackface": films that reinforce the very systems that marginalize Black communities. This dissertation argues for a revolutionary alternative through Antagonistic Cinema Theory, a new framework for liberated Black cinema. This research traces the historical antagonism between Hollywood and radical movements such as the L.A. Rebellion and the Black Audio Film Collective, then grounds this history through dialogues with filmmakers Merawi Gerima and Mtume Gant. The theory is demonstrated through an autoethnographic analysis of my first three feature films, drawing its aesthetic genealogy from avant-garde jazz, Afro-Surrealism, and Africana existential philosophy. The dissertation culminates in a manifesto arguing that Black cinema must reject its role as an audition for Hollywood and become an unapologetic weapon for liberation, accountable only to the poor and working-class communities it represents.