This erudite and engaging scholarly memoir offers a wealth of historical details about films and filmmakers, a critique of a half-century of cultural politics in academia, and a passionate polemic about the value of the cinema.
This book pays tribute to the sacrifices and achievements of seven individuals who made difficult and controversial choices to insure that black Americans shared in the evolution of the nation's cultural heritage. Transcriptions and analyses of never-before published uncensored conversations with Lorenzo Tucker, Lillian Gish, King Vidor, Clarence Muse, Woody Strode, Charles Gordone, and Frederick Douglass O'Neal reveal many of the reasons and rationalizations behind a racist screen imagery in the first three-quarters of the twentieth century. This primary source, replete with pictures, documentation, and extensive annotations, recounts through the words of important participants what happened to many film pioneers when a new generation of African-Americans rebelled against the nation's stereotyped film imagery. "A unique historical resource, this book is a fitting tribute to these artists, reminding us of their courage, integrity, and perseverance to succeed against great odds. The thorough, meticulous annotations make it an indispensable addition to collections in film studies and African American studies." -Denise Youngblood, Professor of History, University of Vermont. "The author has taken a unique approach and may have even created a new genre of writing: the interview embellished with scholarly commentary. It is a fascinating experiment. . . This book belongs in every research library and in all public libraries from mid-size to large cities. It fills in lacunae between existing studies." -Peter C. Rollins, Editor-in-Chief of Film & History.
The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.
“A worthy successor to Every Step a Struggle . . . the contributions to American cinema of these determined and courageous rebels will never be forgotten.” —Denise Youngblood, author ofCinematic Cold War While Every Step a Struggle recalled the performers who fought to give black artists a voice and a presence in film and on stage, this new ground-breaking book focuses on the personalities who replaced the pioneers and refused to abide by Jim Crow traditions. Presented against a detailed background of the revolutionary post-World War II era up to the mid-1970s, the individual views of Mae Mercer, Brock Peters, Jim Brown, Ivan Dixon, James Whitmore, William Marshall and Ruby Dee in heretofore unpublished conversations from the past reveal just how tumultuous and extraordinary the technological, political, and social changes were for the artists and the film industry. Using extensive documentation, hundreds of films, and fascinating private recollections, Dr. Manchel puts a human face both on popular culture and race relations. “Using the method of oral history and the mature thinking of a senior scholar, Exits and Entrances enhances our understanding of the difficult slog to create a truthful, ‘round’ image of African-Americans in U.S. commercial films. This collection is a gold mine of information for future research and should be in all libraries which value film research.” —Peter C. Rollins, Emeritus Editor-in-Chief of Film & History
“This fascinating collection of interviews is ‘must reading’ for anyone interested in the cultural politics of race in America. A unique historical resource.” —Denise Youngblood, author of Cinematic Cold War This book pays tribute to the sacrifices and achievements of seven individuals who made difficult and controversial choices to ensure that black Americans shared in the evolution of the nation’s cultural heritage. Transcriptions and analyses of never-before-published uncensored conversations with Lorenzo Tucker, Lillian Gish, King Vidor, Clarence Muse, Woody Strode, Charles Gordone, and Frederick Douglass O’Neal reveal many of the reasons and rationalizations behind a racist screen imagery in the first three-quarters of the twentieth century. This primary source, replete with pictures, documentation, and extensive annotations, recounts through the words of important participants what happened to many film pioneers when a new generation of African-Americans rebelled against the nation’s stereotyped film imagery. “The author has taken a unique approach and may have even created a new genre of writing: theinterview embellished with scholarly commentary. It is a fascinating experiment . . . This book belongs in every research library and in all public libraries from mid-size to large cities. It fills in lacunae between existing studies.” —Peter C. Rollins, Emeritus Editor-in-Chief of Film & History
The Holocaust is a subject of enormous historical importance. The murder of approximately 6 million Jews stands apart as a perhaps the most horrendous episode in world history. In this fresh introduction, McDonough examines the racial war-within-a-war, outlining controversies and examining how it has been popularised and institutionalised.
The endurance of the Frankenstein narrative as a modern cinematic myth is undeniable. Its flexibility has produced classic and contemporary horror film-most notably the Universal films of the thirties-but it has also resulted in unusual hybrids, such as musical horror-comedy (The Rocky Horror Picture Show), hyperbolic parody (Flesh for Frankenstein), and science fiction (the Alien and Terminator series). This sourcebook provides a complete guide to all of the story's filmic incarnations-including essential information such as cast, creative personnel, and plot summaries-and also guides the reader to relevant primary texts such as scripts, posters, production histories, and newspaper clippings. Utilizing an approach that is both popular and scholarly, and including spotlight essays that deal with contemporary academic approaches to the subject, The Frankenstein Film Sourcebook reveals the depth of the cinematic range of interpretations of a classic modern myth. Comprehensive in its scope, The Frankenstein Film Sourcebook provides an alphabetical guide to two hundred films that incorporate the Frankenstein narrative. It also delves into both primary and secondary perspectives and includes discussions of aspects of the films, such as their depiction of women, which is relevant to current scholarly critiques.
The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.
“A worthy successor to Every Step a Struggle . . . the contributions to American cinema of these determined and courageous rebels will never be forgotten.” —Denise Youngblood, author ofCinematic Cold War While Every Step a Struggle recalled the performers who fought to give black artists a voice and a presence in film and on stage, this new ground-breaking book focuses on the personalities who replaced the pioneers and refused to abide by Jim Crow traditions. Presented against a detailed background of the revolutionary post-World War II era up to the mid-1970s, the individual views of Mae Mercer, Brock Peters, Jim Brown, Ivan Dixon, James Whitmore, William Marshall and Ruby Dee in heretofore unpublished conversations from the past reveal just how tumultuous and extraordinary the technological, political, and social changes were for the artists and the film industry. Using extensive documentation, hundreds of films, and fascinating private recollections, Dr. Manchel puts a human face both on popular culture and race relations. “Using the method of oral history and the mature thinking of a senior scholar, Exits and Entrances enhances our understanding of the difficult slog to create a truthful, ‘round’ image of African-Americans in U.S. commercial films. This collection is a gold mine of information for future research and should be in all libraries which value film research.” —Peter C. Rollins, Emeritus Editor-in-Chief of Film & History
Brief sketches of the life and careers of the great talking film comedians of the 1930's: Laurel and Hardy, W. C. Fields, Mae West, and the Marx Brothers.
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