In Uplift Cinema, Allyson Nadia Field recovers the significant yet forgotten legacy of African American filmmaking in the 1910s. Like the racial uplift project, this cinema emphasized economic self-sufficiency, education, and respectability as the keys to African American progress. Field discusses films made at the Tuskegee and Hampton Institutes to promote education, as well as the controversial The New Era, which was an antiracist response to D. W. Griffith's The Birth of a Nation. She also shows how Black filmmakers in New York and Chicago engaged with uplift through the promotion of Black modernity. Uplift cinema developed not just as a response to onscreen racism, but constituted an original engagement with the new medium that has had a deep and lasting significance for African American cinema. Although none of these films survived, Field's examination of archival film ephemera presents a method for studying lost films that opens up new frontiers for exploring early film culture.
This is an indispensible sourcebook for scholars and enthusiasts, establishing the key role played by the L.A. Rebellion within the histories of cinema, Black visual culture, and postwar art in Los Angeles.
Spike Lee rises again. This time, he and Lisa Jones document his transition from struggling independent to mainstream filmmaker with the making of the Columbia Pictures film, School Daze. No...
See the account in Leslie Midkiff DeBauche,Reel Patriotism:The Movies and World War I (Madison: University of Wisconsin Press, 1997), 104–36; and Stephen Vaughn, Holding Fast the Inner Lines: Democracy, Nationalism, and the Committee on ...
Cripps also concludes that Hollywood was suf¤ciently capitalized to co-opt any successful idea produced by black producers of race movies—hence, the double meaning of Cripps's title Slow Fade to Black—the slow fade-out of the ...
... 5, 10, 74, 177, 182, 218 in The Notorious Elinor Lee, 271 in Ten Minutes to Live, 149, 152, 155 in Underworld, 195, ... 201, 204, 267,270 Nichols, Bill, 79 Nicholson brothers (Jackson brothers), 132n19 Nietzsche, 107, 182, 182n2, ...
Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century.
Anglo-American expressions of gender and leisure, as historian Martin Summers has argued, were different from those of many black men, but for both groups, middle-class ideas of gender were reformulated as the social and economic ...
26 27 28 29 30 Karen Mary Davalos and Colin Gunckel, “The Early Years, 1970–1985: An Interview with Michael Amescua, Mari Cárdenas Yañez, Yreina Cervantez, Leo Limón, Peter Tovar, and Linda Vallejo,” in Self Help Graphics and Art: Art ...
In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture.
... straighten up and grin!'” (Bogle 37). 15. Wallace, p. 58; Gerald R. Butters, Jr., Black Manhood on the Silent Screen ... America (New Brunswick: Rutgers University Press, 2001), p. 199. 1 “Put Together to Please a Colored Audience” Black ...