Film Studies

As early as 1909, African Americans were utilizing the new medium of cinema to catalogue the world around them, using the film camera as a device to capture their lives and their history. The daunting subject of race and ethnicity permeated life in America at the turn of the twentieth century and due to the effect of certain early films, specific television images, and an often-biased news media, it still plagues us today. As new technologies bring the power of the moving image to the masses, African Americans will shoot and edit on laptop computers and share their stories with a global audience via the World Wide Web. These independently produced visions will add to the diverse cache of African American images being displayed on an ever-expanding silver screen. This wide range of stories, topics, views, and genres will finally give the world a glimpse of African American life that has long been ignored and has yet to be seen. This second edition of Historical Dictionary of African American Cinema covers its history through a chronology, an introductory essay, appendixes, and an extensive bibliography. ...

Since the release of Jordan Peele's Academy Award-winning horror hit Get Out (2017), interest in Black horror films has erupted. This renewed intrigue in stories about Black life, history, culture, or "Blackness" has taken two forms. First, the history and politics of race have been centered in the horror genre. Second, Black horror has become an increasingly visible topic in mainstream discourses with scholars, critics, and fans contending that Black horror is seeing its so-called renaissance. However, critical attention to Blackness in horror has primarily focused on the U.S. and western world, despite Black stories having featured prominently in the genre-as actors, screenwriters, directors, producers-globally and across cultures. The essays in this handbook explore global Black horror cinema by interrogating Blackness and the ways in which it manifests in films across the diaspora and around the world. ...

In Hollywood, we hear, it's all about the money. It's a ready explanation for why so few black films get made--no crossover appeal, no promise of a big payoff. But what if the money itself is color-coded? What if the economics that governs film production is so skewed that no film by, about, or for people of color will ever look like a worthy investment unless it follows specific racial or gender patterns? This, Monica Ndounou shows us, is precisely the case. In a work as revealing about the culture of film-making as it is about the distorted economics of African American film, Ndounou clearly traces the insidious connections between history, content, and cash in black films. ...

This classic iconic study of black images in American motion pictures has been updated and revised, as Donald Bogle continues to enlighten us with his historical and social reflections on the relationship between African Americans and Hollywood. He notes the remarkable shifts that have come about in the new millennium when such filmmakers as Steve McQueen (12 Years a Slave) and Ava DuVernay (Selma) examined America's turbulent racial history and the particular dilemma of black actresses in Hollywood, including Halle Berry, Lupita Nyong'o, Octavia Spencer, Jennifer Hudson, and Viola Davis. ...

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). ...

As early as 1900, when moving-picture and recording technologies began to bolster entertainment-based leisure markets, journalists catapulted entertainers to godlike status, heralding their achievements as paragons of American self-determination. Not surprisingly, mainstream newspapers failed to cover black entertainers, whose "inherent inferiority" precluded them from achieving such high cultural status. Yet those same celebrities came alive in the pages of black press publications written by and for members of urban black communities. In Looking at the Stars Carrie Teresa explores the meaning of celebrity as expressed by black journalists writing against the backdrop of Jim Crow-era segregation. ...

From King Kong to Candyman, the boundary-pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture. In Horror Noire: Blacks in American Horror Films from 1890's to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself. ...

In the early 1970s, a new breed of film emerged that would completely change the way black people were presented in movies. With their afros picked to spherical perfection and their guns blazing, big bad soul brothers and super sexy sisters lit up movie theaters across the country. Never before had black men and women appeared on screen in quite this way. In time, these films would be called "blaxploitation." And while it has long been debated exactly which film launched the blaxploitation era, the financial success of Melvin Van Peebles's Sweet Sweetback's Baadasssss Song and Gordon Parks's Shaft helped open the flood gates for the more than 200 films that are now considered blaxploitation. Reflections on Blaxploitation: Actors and Directors Speak is a collection of interviews with many of the men and women who defined the genre. ...

The category “African American Cinema” presents important conceptual challenges for scholars, critics, and moviegoers. Before laying out those challenges, though, it is important to note that African American cinema is often thought of as part of American cinema, while at the same time, African American cinema is also often thought of as part of a global black diasporic cinema.

This is a five-volume set and supplement covering all aspects of the African-American experience from 1619 to the present day. Where the first edition concentrated on the United States, this new edition is more global in focus. ...

The HistoryMakers is a non-profit institution whose purpose is to record, preserve and disseminate the content of video oral history interviews highlighting the accomplishments of individual African Americans and African-American-led groups and movements. The Archive aims is to provide a unique scholarly and educational resource for exploring African American history and culture. It is unique among collections of African American heritage because of its large and varied scope, with interviewees from across the United States, from a variety of fields, and with memories stretching from the 1890s to the present. Rather than focus on one particular part of a person’s life or a single subject, such as a career or participation in the civil rights movement, the interviews are life oral histories covering the person’s entire span of memories as well as his or her own family’s oral history.

Amid fervent conversations about anti-racism and police violence, Media and the Affective Life of Slavery delivers vital new ideas about how our feelings about race are governed and normalized by our media landscape. Allison Page examines U.S. media from the 1960s to today, analyzing how media culture instructs viewers to act and feel in accordance with new racial norms created for an era supposedly defined by an end to legal racism. ...

A collection of 30 trailers for films starring, directed by, and/or marketed to African Americans from the years 1952-1976.

In a searing parody of American television, Bamboozled takes a humorous look at how race, ratings and the pursuit of power lead to a network executive's stunning rise and tragic downfall.

Blaxploitalian is a diasporic, hybrid, critical, and cosmopolitan dimension documentary that uncovers the careers of a population of entertainers seldom heard from before: Black actors in Italian cinema starting from 1915 when the first black actor appeared in an Italian film. BlaxploItalian cleverly discloses the personal struggles classic Afro-Italian; African-American; Afro-Caribbean and African diasporic actors faced, correlating it with the contemporary actors who work diligently to find respectable and significant roles. ...

This is a comedy about Bobby Taylor, a young black actor trying to get a foothold in Hollywood but running into problems of stereotyping at every turn.

Black films of the 1920s through mid 1950s are shown as a mirror of the Black experience of the time. They developed as a reaction to the way African Americans were depicted by film makers such as D.W. Griffith. This program focuses on the innovative works of film makers Spencer Williams, Oscar Micheaux, Eloyse Gist, and Clarence Muse.