Under their Media Diversity section, the Center publishes report cards and reports on how diverse the television networks are. Included in this section is the report Asian Pacific Americans in Prime Time: Lights, Cameras and Little Action.
The NAACP has fought against negative portrayals of people of color in film and television since Birth of A Nation in 1915. Today the NAACP Hollywood Bureau deals with issues of diversity programming and minority employment in Hollywood, and oversees the production of the NAACP Image Awards.
Keeping up with Film Studies journal literature
Want an easy way to keep up with the journal literature for all facets of Film Studies? And you use a mobile device? You can install the BrowZine app and create a custom Bookshelf of your favorite journal titles. Then you will get the Table of Contents (ToCs) of your favorite journals automatically delivered to you when they become available. Once you have the ToC's you can download and read the articles you want.
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In the Library's collections
Suggested subject headings for searching the online catalog include:
Alphabetically arranged biographical and topical entries cover the treatment and progress of African Americans, Asian Americans, Hispanic Americans, Jewish Americans, and Native Americans in motion pictures and television.
On 4 July, 1910, in 100-degree heat at an outdoor boxing ring near Reno, Nevada, film cameras recorded--and thousands of fans witnessed--former heavyweight champion Jim Jeffries' reluctant return from retirement to fight Jack Johnson, a black man. After 14 grueling rounds, Johnson knocked out Jeffries and for the first time in history, there was a black heavyweight champion of the world. At least 10 people lost their lives because of Johnson's victory and hundreds more were injured due to white retaliation and wild celebrations in the streets. Public screenings received instantaneous protests and hundreds of cities barred the film from being shown. Congress even passed a law making it a federal offense to transport moving pictures of prizefights across state lines, and thus the most powerful portrayal of a black man ever recorded on film was made virtually invisible. This is but one of the hundreds of films covered in the Historical Dictionary of African American Cinema, which includes everything from 'The Birth of a Nation' to 'Crash.'
From Sherman Alexie's films to the poetry and fiction of Louise Erdrich and Leslie Marmon Silko to the paintings of Jaune Quick-To-See Smith and the sculpture of Edgar Heap of Birds, Native American movies, literature, and art have become increasingly influential, garnering critical praise and enjoying mainstream popularity. Recognizing that the time has come for a critical assessment of this exceptional artistic output and its significance to American Indian and American issues, Dean Rader offers the first interdisciplinary examination of how American Indian artists, filmmakers, and writers tell their own stories.
Asian American filmmakers and video artists have created a substantial, diverse, and challenging body of work that reimagines the cultural and political representation of Asian Americans. Yet much of this work remains unknown. Ghostlife of Third Cinema examines such potent issues as diasporic identity, historical memory, and queer sexuality through sophisticated readings of a wide range of film and video projects, including Trinh T. Minh-ha's experimental documentary 'Surname Viet Given Name Nam'; avant-garde works by Japanese American filmmakers Rea Tajiri, Lise Yasui, andJanice Tanaka; and queer videos exploring the intersection of race, nation, and sexuality by Pablo Bautista, Ming-Yuen Ma, and Nguyen Tan Hoang.
Heroes, Lovers, and Others tells the fascinating history of Latinos in film, from the birth of the movies to the present, through a series of stories about Hollywood's most famous and enduring stars. The sparkling parade of Latino film stars presented against the backdrop of American social and cultural history changes the way we think of race and ethnicity in Hollywood and challenges us to reexamine conventional ways of viewing our past.
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.
No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Not all representations signify progress.
This book explores the role film and television stardom has played in establishing, reinforcing, and challenging popular ethnic notions of Latina/os in the United States since the silent film era of the 1920s. In addition to documenting the importance of Latina and Latino stars to American film and television history, Mary C. Beltrán focuses on key moments in the construction of "Hollywood Latinidad" by analyzing the public images of these stars as promoted by Hollywood film studios, television networks, producers, and the performers themselves.
In Otherness in Hollywood Cinema, Michael Richardson argues that the Hollywood system has been the only national cinema with the resources and inclination to explore images of others through stories set in exotic and faraway places.
Racial Stigma on the Hollywood Screen from WWII to the Present charts how the dominant white and black binary of American racial discourse influences Hollywood's representation of the Asian. The Orientalist buddy film draws a scenario in which two buddies, one white and one black, transcend an initial hatred for one another by joining forces against a foreign Asian menace.
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.
In this deeply engaging account Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who helped shape Hollywood's representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Indigenous plots and subplots also signify at least some degree of Native presence in a culture that largely defines Native peoples as absent or separate.
Through a dynamic mix of verite, archival, and re-enactment footage, Finding Kukan creates an unforgettable portrait of a female filmmaking pioneer, and sheds light on the long history of racial and gender discrimination behind the camera, which continues to reverberate in Hollywood today.
Explores how mainstream media contributes to the under-representation of women in influential positions in America and challenges the media's limiting and often disparaging portrayals of women, which make it difficult for the average girl to see herself as powerful.
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.
Travelling through the heartland of America, Cree filmmaker Neil Diamond examines how the myth of the movie "Injun" has influenced the world's understanding - and misunderstanding - of Natives. With clips from hundreds of classic and recent films, and candid interviews with celebrated Native and non-Native directors, writers, actors and activists, including Clint Eastwood, Robbie Robertson, Sacheen Littlefeather, John Trudell, Charlie Hill and Russell Means, Reel Injun traces the evolution of cinema's depiction of Native people from the silent film era to the present day.
The Bronze screen honors the past, illuminates the present, and opens a window to the future of Latinos in motion pictures. From silent movies to urban gang films, stereotypes of the Greaser, the Lazy Mexican, the Latin lover and the Dark lady are examined. Rare and extensive footage traces the progression of this distorted screen image to the increased prominence of today's Latino actors, writers and directors.
From silent film star Sessue Hayakawa to Harold & Kumar Go to Whitecastle, The slanted screen explores the portrayals of Asian men in American cinema, chronicling the experiences of actors who have had to struggle against ethnic stereotyping and limiting roles. The film presents a critical examination of Hollywood's image-making machine, through a fascinating parade of 50 film clips spanning a century.
Describes racial and gender stereotyping of Asian women in U.S. motion pictures as well as other filmic media, with "Reloaded" updating the original documentary by noting the effects of globalization and a changing population within the past 25 years. Includes interviews with actresses and other Asian American women who describe their experiences of such stereotyping.