by
Bernardi, Daniel, 1964- editor.
Call Number
791.43652996073 23
Publication Date
2017
Summary
This set investigates racial representation in film, providing an authoritative cross-section of the most racially significant films, actors , directors, and movements in American cinematic history.
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6.2190
by
Satchel, Roslyn M.
Call Number
791.4308996073 23
Publication Date
2016
Summary
This book examines rhetoric surrounding race and ethnicity in movies. By exploring the American movie industry's content, practices, and influences, Satchel calls for an interrogation of media conglomeration and convergence as potential global threats to democracy.
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Electronic Resources
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6.1398
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by
Rogin, Michael Paul.
Call Number
791.436520396073 20
Publication Date
1996
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Electronic Resources
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5.3538
by
Friedman, Ryan Jay.
Call Number
791.43652996073 22
Publication Date
2011
Summary
In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Ryan Jay Friedman a.
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Electronic Resources
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5.2979
by
Reid, Mark (Mark A.)
Call Number
791.437508996073 22
Publication Date
2005
Summary
Black Lenses, Black Voices is a provocative look at films directed and written-and sometimes produced-by African Americans, as well as black-oriented films whose directors and or screenwriters are not black. Taking us through the development of African American independent filmmaking before and after World War II, Mark A. Reid then illustrates the unique nature of African American family, action, horror, female-centered, and independent films, such as Eve's Bayou, Jungle Fever, Shaft, Souls of Sin, Bones, Waiting to Exhale, Monster's Ball, Sankofa, and many more.
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Electronic Resources
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5.2811
by
Caddoo, Cara, 1978-
Call Number
791.43652996073 23
Publication Date
2014
Summary
[Description]In Cara Caddoo's perspective-changing study, African Americans emerge as pioneers of cinema from the 1890s to 1920s. But as it gained popularity, black cinema also became controversial. Black leaders demanded self-representation and an end to cinematic mischaracterizations which, they charged, violated the civil rights of African Americans.
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Electronic Resources
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5.2038
by
Covington, Jeanette, 1949-
Call Number
791.4308996073 22
Publication Date
2010
Summary
This book is an examination of how crime has figured in racial representations of blacks in media (especially film) and academia in the post-civil rights era.
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Electronic Resources
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5.1489
by
Reid, Mark (Mark A.)
Call Number
791.4308996073 20
Publication Date
1993
Summary
This assessment of black film history distinguishes between American films that are controlled by Blacks and those which utilize black talent, but are controlled by Whites. The study ranges from the earliest black involvement in Hollywood to present feminist influences in black productions.
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Electronic Resources
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3.6223
by
Lupack, Barbara Tepa.
Call Number
791.430233092 23
Publication Date
2014
Summary
In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated cinema from its inception. Richard E. Norman, a southern-born white filmmaker, was one such pioneer. From humble beginnings as a roving ""home talent"" filmmaker, recreating photoplays that starred local citizens, Norman would go on to produce high-quality feature-length race pictures. Together with his better-known contemporaries Oscar Micheaux and Noble and George Johnson, Richard E. Norman helped to define early race filmmaking. Making use of un.
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Electronic Resources
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3.4190
by
Stewart, Jacqueline Najuma, 1970-
Call Number
791.43652996073 22
Publication Date
2005
Summary
The rise of cinema as the predominant American entertainment around the turn of the last century coincided with the migration of hundreds of thousands of African Americans from the South to the urban "land of hope" in the North. This richly illustrated book, discussing many early films and illuminating black urban life in this period, is the first detailed look at the numerous early relationships between African Americans and cinema. It investigates African American migrations onto the screen, into the audience, and behind the camera, showing that African American urban populations and cinema.
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Electronic Resources
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3.1227
by
Slide, Anthony.
Call Number
818.5209
Publication Date
2004
Summary
"Thomas Dixon has a notorious reputation as the writer of the source material for D.W. Griffith's groundbreaking and controversial 1915 feature film The Birth of a Nation . Perhaps unfairly, Dixon has been branded an arch-conservative and a racist obsessed with what he viewed as "the Negro problem." As American Racist makes clear, however, Dixon was a complex, multitalented individual who, as well as writing some of the most popular novels of the early twentieth century, was involved in the production of some eighteen films. Dixon used the motion picture as a propaganda tool for his often out.
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2.1105
by
Regester, Charlene B., 1956-
Call Number
791.43028092396073 22
Publication Date
2010
Summary
Nine actresses, from Madame Sul-Te-Wan in Birth of a Nation (1915) to Ethel Waters in Member of the Wedding (1952), are profiled in African American Actresses. Charlene Regester poses questions about prevailing racial politics, on-screen and off-screen identities, and black stardom and white stardom. She reveals how these women fought for their roles as well as what they compromised (or didn't compromise). Regester repositions these actresses to highlight their contributions to cinema in the first half of.
Format:
Electronic Resources
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0.4470
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