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Redefining Black Film
Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks. Reid's discussion of black independent films—defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks—ranges from the earliest black involvement at the turn of the century up through the civil rights...
Frankly, My Dear
Haskell keeps both novel and movie at hand, moving from one to the other, comparing and distinguishing what Margaret Mitchell expresses from what obsessive producer David O. Selznick, directors George Cukor and Victor Fleming, screenplaywrights Sidney Howard and a host of fixers (including Ben Hecht and Scott Fitzgerald), and actors Vivien Leigh, Clark Gable, Hattie McDaniel, and others convey. She emphasizes the contributions of Selznick, Leigh, and in an entire chapter, Mitchell, drawing heavily and analytically on existing biographies, the literature of women and the Civil War, Civil War films (especially Birth of a Nation and Jezebel), and film criticism to such engaging effect as to not just revisit GWTW but to revive and intensify the enduring fascination of what Selznick dubbed the American Bible. --Olson, Ray Copyright 2009 Booklist.
Boom and Bust
On the history of motion pictures
Black Film as Genre
None
White Screens/Black Images
Hollywood's representation of blacks has been consistently misleading, promoting an artificially constructed mythology in place of historical fact. But how, James Snead asks, did black skin on screen develop into a complex code for various types of white supremacist discourse? In these essays, completed shortly before his death in 1989, James Snead offers a thoughtful inquiry into the intricate modes of racial coding in Hollywood cinema from 1915 to 1985. Snead presents three major methods through which the racist ideology within film functions: mythification, in which black images are correlated in a larger sceme of semiotic valuation where the dominant I needs the marginal other in order t...
Sidney Poitier
The life and career of Sidney Poitier are analyzed in this biography of the actor, highlighting his work as the only black leading man during the civil rights era and the honors he has received for his work for racial equality in Hollywood.
American Cinema of the 1940s
The 1940s was a watershed decade for American cinema and the nation. Shaking off the grim legacy of the Depression, Hollywood launched an unprecedented wave of production, generating some of its most memorable classics. Featuring essays by a group of respected film scholars and historians, American Cinema of the 1940s brings this dynamic and turbulent decade to life with such films as Citizen Kane, Rebecca, The Lady Eve, Sergeant York, How Green Was My Valley, Casablanca, Mrs. Miniver, The Road to Morocco, Yankee Doodle Dandy, Kiss of Death, Force of Evil, Caught, and Apology for Murder. Illustrated with many rare stills and filled with provocative insights, the volume will appeal to students, teachers, and to all those interested in cultural history and American film of the twentieth century.
America on Film
America on Film: Representing Race, Class, Gender, and Sexuality in the Movies, 2nd Edition is a lively introduction to issues of diversity as represented within the American cinema. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality Includes over 100 illustrations, glossary of key terms, questions for discussion, and lists for further reading/viewing Includes new case studies of a number of films, including Crash, Brokeback Mountain, and Quinceañera
The Black Studies Reader
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Black American Cinema
On Black cinema
