Adapting Moral Opinion in ​Imitation

Total Page:16

File Type:pdf, Size:1020Kb

Adapting Moral Opinion in ​Imitation Critical Essay Student ID # 1310576 Dr. Grossman CMM-370-01 June 2019 “What Race Is”: Adapting Moral Opinion in Imitation of Life ​ Fannie Hurst’s 1933 novel, Imitation of Life, deals with the complexities of the color-line not only in general society, but within black families. Delia, the mother of mixed race daughter Peola, embraces her blackness as the “glory of bein’ born one of de Lawd’s low down ones”(118). However, her daughter Peola refuses to adopt this complex, instead choosing to pass as white and reject her black roots, including ties with her mother. In Hurst’s novel, Peola never returns to these roots; however, in both the 1934 Stahl film adaptation and 1959 Sirk adaptation, Peola returns to her mother, dissatisfied with her “passing” life. Through strategic blocking and mise-en scene, the film adaptations – this essay discussing Sirk’s – create a sense of isolation surrounding the passing of a mixed race character. This sense of isolation and ultimate return to black community propose an answer to the age-old question posed by Nella Larsen in her 1929 novel Passing: why those who pass “come back… If [we] knew that, [we ​ ​ would] know what race is” (95). Although Sarah Jane chooses to identify as white to pursue economic and social opportunity, she returns to black community due to the paradoxical sense of isolation that comes with passing. By representing mixed-race characters, namely Sarah Jane, as dissatisfied with their chosen white identity, Imitation of Life’s film adaptations define race by ​ ​ blood heritage, rather than cultural choice. Critical Essay 2 John Stahl sets a precedent – which Douglas Sirk follows – by physically isolating Peola ​ ​ in scenes where she passes as white. In Stahl’s 1934 film, Peola distances herself from her family, and therefore their narrative, around which the film revolves. Peola is seen less on screen than her 1959 counterpart, existing more by name or through letters, and this even distances her from the film viewer. When Peola is on-screen, Stahl develops her isolation through ​ ​ mise-en-scene, which physically separates her character from a society in which she is passing. The first time we see her pass as white, she is a young schoolgirl in a crowd of children. When her mother “outs” her to the class, Peola slowly stands up to exit the room. This blocking physically separates her from the other children, symbolizing the social ostracization that has resulted from her taking on a white racial identity despite her black heritage. Sirk replicates this ​ ​ scene in his 1959 version of Imitation of Life, after which Sarah Jane returns home to lock herself ​ ​ in her room. Absent from the frame, she is quoted by Susie: “[Sarah Jane] says nobody’s her friend.” Sarah Jane’s physical absence signifies the loneliness that she feels due to her confused identity, while her words (conveyed from a distance) express this feeling. During Sarah Jane’s adulthood, she furthers the physical and emotional distance between herself and her family. In a scene introducing her as an adult, Sirk blocks her in the background, coming down stairs before darting out the door. Later at a party, Sirk mirrors this placement of Sarah Jane, who is the last to enter, coming down a flight of stairs in the background. This blocking begins to develop adult Sarah Jane as solitary, never physically close to her family or the action that takes place within their circle. When the party moves to another room, Sarah Jane lags behind before turning away from the others, and from the camera. This distances her from not only her family, but also the party and film viewers, developing an emotional barrier between Critical Essay 3 herself and us. We feel as distanced from her as she does from the world, especially now as she experiences it through a mature lens. These scenes foreshadow Sarah Jane’s removal from the domestic sphere as she begins to sneak out of the house and go on dates. In order to do so, she deceives not only her family, but also her boyfriend. When her family holds a reunion picnic to celebrate their togetherness, Sarah Jane pretends to have the flu, waiting until they have left to sneak out. She is shown sneaking around by herself, which is repeated in a following scene while other family members have conversation off-camera. Upon her return, Sarah Jane tells Susie that her boyfriend could never know her true identity, weeping: “I’m going to be everything he thinks I am. I look it, and that’s all that matters.” During this scene, and scenes of her sneaking around, Sarah Jane is framed by herself, while Susie’s back is turned to the camera. These shot choices hinder Sarah Jane from connecting with other characters, making it seem as if she looks right through Susie during conversation. Her deception of others functions in a similar way, weakening the relationships between Sarah Jane and her loved ones as she pursues a white racial identity. While Sarah Jane continues to pass outside her home, the rest of her family makes remarks associating her with blackness. Susie asks if Sarah Jane’s boyfriend is “colored,” and Lora asks if her boyfriend is a local chauffeur, who is implied to be black. Sarah Jane reacts by portraying a negative black stereotype during a dinner party, reasoning to her family “You’re all so anxious for me to be colored, I was going to show you I could be.” Standing in the foreground, Sarah Jane keeps her back to her family, emphasizing the disconnect that she feels with how her family perceives her. When Lora comes to the foreground, her blocking mirrors Susie’s with her back to the camera as she addresses Sarah Jane, noting that this negative claim Critical Essay 4 of identity “won’t solve anything.” Thematically, and physically, Sarah Jane is portrayed as alone after a failed attempt to express how her race makes her feel. When Sarah Jane is finally shown meeting her boyfriend, their interaction begins with Sarah Jane standing alone by a storefront. When Frankie does arrive, he barely speaks at all, his face shrouded in shadow. This anonymity foreshadows his betrayal of Sarah Jane, when he reveals his knowledge that her mother is black. After violently beating her, he sneaks off, leaving her alone in an alley. This scene is cut in juxtaposition with Annie commenting to Lora that she has hundreds of friends, none of which have appeared in the film thus far. While this appears to be a random comment, it hints to the sense of belonging that Annie has gleaned from her community-- a sense of racial belonging that we have not been exposed to thus far in the film, and certainly a sense of belonging that Sarah Jane does not have at this moment. Sarah Jane returns home to blame her mother for the attack, accusing Annie of outing her to the community, and therefore Frankie. At first, all characters are blocked surrounding Sarah-Jane in concern, but they soon retaliate against her. She is chastised by Lora for speaking harshly to Annie, and by Annie for lying. Even Susie betrays Sarah Jane, scoffing that the attacker was “her boyfriend.” Physically surrounded, with the dynamic against her, Sarah-Jane ​ ​ runs back upstairs to the familiar isolation of her room, locked away from her family. The betrayal of the attack, combined with the loss of support from her family, leaves Sarah Jane more alone than ever before. In contrast with Annie’s description of a community of friends, Sarah Jane is punished for passing by losing every sense of belonging she had known. Despite this punishment, Sarah Jane chooses to continue passing in an attempt to achieve a sense of belonging elsewhere. She fails to attend Susie’s graduation, and her absence, Critical Essay 5 combined with a shot of her dancing alone in her room, foreshadow her departure from the family and its narrative. When she reappears, Annie discovers her at a club, singing alone onstage. Engaged in an act of performance, Sarah Jane wears a smile as she enjoys financial independence, mirroring Peola in Stahl’s 1934 film. However, she sings of loneliness and emptiness, saying “an empty purse can make a good girl bad,” implying that she is currently in a “bad” state. Additionally, she receives the attention from men she had craved before, but it is tainted as they either laugh at her performance or are shrouded in shadow, preventing the establishment of any authentic connection to ease her loneliness. Once she is outed by Annie, she is punished further by losing her job, and therefore the income that she had suffered through this loneliness to achieve. After this betrayal, Sarah Jane runs from Annie’s every attempt at reconciliation. Their final encounter takes place in Sarah Jane’s room, a space in which she had previously locked herself away from the world. At first, Sarah Jane fights her mother’s affection, physically moving away from her at every chance. Annie then asks “Are you happy, honey? Did you find everything you’ve been looking for?” This question confronts Sarah Jane with her values in adopting identity, as she stares at her reflection in the mirror. Annie is blocked so that her reflection shadows Sarah-Jane’s, implying the necessity of her bloodline in Sarah Jane’s determination of the identity that she’s “been looking for.” Sarah-Jane weeps to the mirror, “I’m white, white, white! Does that answer your question?” Her miserable tone suggests her desire to relate with her mother, but the insistence of her words expresses the tragic necessity of whiteness in her social and financial life.
Recommended publications
  • Imitation of Life
    Genre Films: OLLI: Spring 2021: weeks 5 & 6 week 5: IMITATION OF LIFE (1959) directed by Douglas Sirk; cast: Lana Turner, John Gavin, Sandra Dee, Juanita Moore, Susan Kohner, Dan O'Herlihy, Troy Donahue, Robert Alda Richard Brody: new yorker .com: “For his last Hollywood film, released in 1959, the German director Douglas Sirk unleashed a melodramatic torrent of rage at the corrupt core of American life—the unholy trinity of racism, commercialism, and puritanism. The story starts in 1948, when two widowed mothers of young daughters meet at Coney Island: Lora Meredith (Lana Turner), an aspiring actress, who is white, and Annie Johnson (Juanita Moore), a homeless and unemployed woman, who is black. The Johnsons move in with the Merediths; Annie keeps house while Lora auditions. A decade later, Lora is the toast of Broadway and Annie (who still calls her Miss Lora) continues to maintain the house. Meanwhile, Lora endures troubled relationships with a playwright (Dan O’Herlihy), an adman (John Gavin), and her daughter (Sandra Dee); Annie’s light-skinned teen-age daughter, Sarah Jane (Susan Kohner), is working as a bump-and-grind showgirl and passing as white, even as whites pass as happy and Annie exhausts herself mastering her anger and maintaining her self-control. For Sirk, the grand finale was a funeral for the prevailing order, a trumpet blast against social façades and walls of silence. The price of success, in his view, may be the death of the soul, but its wages afford retirement, withdrawal, and contemplation—and, upon completing the film, that’s what Sirk did.” Charles Taylor: villagevoice.com: 2015: “Fifty-six years after it opened, Douglas Sirk’s Imitation of Life … remains the apotheosis of Hollywood melodrama — as Sirk’s final film, it could hardly be anything else — and the toughest-minded, most irresolvable movie ever made about race in this country.
    [Show full text]
  • Broadside Book Awards Book/Media Board Meeting News Network Reviews at Baruch
    Newsletter of the Theatre Library Association In Memoriam: Brooks McNamara, TLA President, 1977-1980, and Founding Director of the Shubert Archive Inside this issue Executive Broadside Book Awards Book/Media Board Meeting News Network Reviews at Baruch INSIDE THIS ISSUE 4 President‘s Report BROADSIDE (ISSN: 0068-2748) is published three times a year and distributed to all members in good standing. Contents ©Theatre Library Association 6 In Memoriam Access via login—Members contact David Nochimson ([email protected]) 8 BROADSIDE News Network Editor: Angela Weaver ([email protected]), University of Washington 10 Announcements Book Review Editor: Catherine Ritchie ([email protected]), Dallas Public Library 14 Book/Media Reviews Regional News Editor: Robert W. Melton ([email protected]), 20 Books Received University of California, San Diego 20 TLA at ALA in Chicago BROADSIDE PUBLICATION GUIDELINES BROADSIDE is the principal medium through which the Theatre Library Association 20 Upcoming Events communicates news, activities, policies, and procedures. Collectively, past issues also provide historical information about the organization and the profession of performing arts librarianship. BROADSIDE has no ambition to serve as a scholarly journal. 3 TLA Board Scholarly and other articles or monographs may be considered for TLA‘s other principal publication, Performing Arts Resources. 3 TLA Mission Statement In addition, BROADSIDE serves as a means for the exchange among members of information that advances the mission of the organization. Examples of this include short news items about recent activities of both individual and institutional members; 1 Front Cover short reviews of relevant books and other resources; news of relevant exhibits, conferences, and other developments in performing arts librarianship, collections, and scholarship.
    [Show full text]
  • Multiculturalism Must Come to a Truce: Hollywood and the Perpetual Browning of the Nation Belle Harrell
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Multiculturalism Must Come to a Truce: Hollywood and the Perpetual Browning of the Nation Belle Harrell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES MULTICULTURALISM MUST COME TO A TRUCE: HOLLYWOOD AND THE PERPETUAL BROWNING OF THE NATION By BELLE HARRELL A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2006 The members of the Committee approve the Dissertation of Belle Harrell defended on April 5, 2006. Maxine D. Jones Professor Directing Dissertation R. B. Bickley Outside Committee Member Neil Jumonville Committee Member Maricarmen Martínez Committee Member Approved: David F. Johnson, Director, Interdisciplinary Program in the Humanities Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my sister and my best friend – Heidi Harrell. Janie is fortunate to have her as a mother. iii ACKNOWLEDGEMENTS I would like to acknowledge those professors whose influence is reflected in this work: Dr. Bruce Bickley, Dr. V.J. Conner, Dr. Eugene Crook, Dr. Maxine D. Jones, Dr. Neil Jumonville, and Dr. Maricarmen Martínez. Not only have you made me a better student and a better teacher, but a better person. iv TABLE OF CONTENTS ABSTRACT ...................................................................................................... vi MULITICULTURALISM IN REVIEW ............................................................ 1 THE HUMAN STAIN IS MOST CERTAINLY HATRED: AN ANALYSIS OF THE HUMAN CONDITION…….
    [Show full text]
  • Film Essay for "Imitation of Life" (1959)
    Imitation of Life (1959) By Matthew Kennedy Universal Pictures was no stranger to remakes. In the 1950s, the studio revisited “Magnificent Obses- sion,” “The Spoilers,” and “My Man Godfrey,” among others. Studio head Edward Muhl wasn't sure anoth- er “Imitation of Life,” first filmed in 1934 (National Film Registry 2005 inductee), would fly in the late '50s until producer Ross Hunter suggested Lana Turner as the star. She had recently been embroiled in a scandal lurid even by Hollywood standards, her Mafioso boyfriend Johnny Stompanato fatally stabbed by her under-aged daughter. While other studios treated her like radioactive waste, Universal capitalized on Turner's volatile tabloid-headline life. On the first day of shooting, with press and flash bulbs everywhere, she overcame jitters and carried herself regally. She accepted floral bouquets and well wishes, then got to work and would take no questions regarding the killing. The studio backed her with lavish treatment befitting her status as an old school movie star, reportedly giving her the most luxurious trailer in Universal's history. Faint echoes are heard between the public and pri- vate Turner in “Imitation of Life.” The story began as a 1933 Fannie Hurst novel about the troubled rela- tionships between two pairs of mothers and daugh- ters, one black and one white. While Hunter combed over the source material, and even toyed with trans- ferring it into a Broadway musical, director Douglas Sirk conceptualized without reading the book or see- ing the original film. Key changes were made in transferring it to screen a second time.
    [Show full text]
  • Ming Wong's Art of Imitation
    Ming Wong’s Imitations Barbara Mennel Ming Wong’s Art of Imitation Life of Imitation—the installation prepared by Singaporean performance and multi- media artist Ming Wong for his solo exhibition in the Singapore Pavilion at the 2009 Venice Biennale—restages a pivotal scene from Imitation of Life, Douglas Sirk’s famous 1959 Hollywood maternal melodrama, closely replicating its stage blocking of characters, dialogue, and shot composition. Figure 1: Ming Wong’s Life of Imitation at the Singapore Pavilion at the Venice Biennale Source: Ming Wong, Life of Imitation, 2009; two channel video installation Courtesy: carlier | gebauer, Berlin and Vitamin Creative Space, Guangzhou Full Clip: http://transit.berkeley.edu/2014/mennel-2/ In Wong’s double projection, the three Singaporean actors Sebastian Tan, Moe Kasim, and Alle Majeed—each a member of one of the country’s dominant ethnic groups (Chinese, Malayan, and Indian)—systematically rotate through the female roles of the source material.1 In the key scene from Imitation of Life, the African American maid Annie Johnson, one of the two lead female characters, is visiting her light-skinned daughter Sarah Jane at her workplace in a Los Angeles nightclub. To pass as white, Sarah Jane had previously run away and renounced her mother, who was only able to track her down with the help of a private detective. After a confrontation between the two in a motel room, which ends in a tearful embrace, Sarah Jane’s friend (billed as “Showgirl”) happens to enter and becomes a witness to Sarah Jane’s racial passing, which her mother reinforces by pretending to be her former mammy.
    [Show full text]
  • Sirk and the Politics of Melodrama
    UC Berkeley TRANSIT Title Ming Wong’s Imitations Permalink https://escholarship.org/uc/item/4fr0n8bw Journal TRANSIT, 9(2) Author Mennel, Barbara Publication Date 2014 DOI 10.5070/T792025112 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Ming Wong’s Imitations Barbara Mennel Ming Wong’s Art of Imitation Life of Imitation—the installation prepared by Singaporean performance and multi- media artist Ming Wong for his solo exhibition in the Singapore Pavilion at the 2009 Venice Biennale—restages a pivotal scene from Imitation of Life, Douglas Sirk’s famous 1959 Hollywood maternal melodrama, closely replicating its stage blocking of characters, dialogue, and shot composition. Figure 1: Ming Wong’s Life of Imitation at the Singapore Pavilion at the Venice Biennale Source: Ming Wong, Life of Imitation, 2009; two channel video installation Courtesy: carlier | gebauer, Berlin and Vitamin Creative Space, Guangzhou Full Clip: http://transit.berkeley.edu/2014/mennel-2/ In Wong’s double projection, the three Singaporean actors Sebastian Tan, Moe Kasim, and Alle Majeed—each a member of one of the country’s dominant ethnic groups (Chinese, Malayan, and Indian)—systematically rotate through the female roles of the source material.1 In the key scene from Imitation of Life, the African American maid Annie Johnson, one of the two lead female characters, is visiting her light-skinned daughter Sarah Jane at her workplace in a Los Angeles nightclub. To pass as white, Sarah Jane had previously run away and renounced her mother, who was only able to track her down with the help of a private detective.
    [Show full text]
  • The Sigh of Triple Consciousness: Blacks Who Blurred the Color Line in Films from the 1930S Through the 1950S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 The Sigh of Triple Consciousness: Blacks Who Blurred the Color Line in Films from the 1930s through the 1950s Audrey Phillips The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3112 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SIGH OF TRIPLE CONSCIOUSNESS: BLACKS WHO BLURRED THE COLOR LINE IN FILMS FROM THE 1930S THROUGH THE 1950S By Audrey Phillips A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 Audrey Phillips All Rights Reserved ii THE SIGH OF TRIPLE CONSCIOUSNESS: BLACKS WHO BLURRED THE COLOR LINE IN FILMS FROM THE 1930S THROUGH THE 1950S By Audrey Phillips This manuscript has been read and accepted by the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Julia Wrigley Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT THE SIGH OF TRIPLE CONSCIOUSNESS: BLACKS WHO BLURRED THE COLOR LINE IN FILMS FROM THE 1930S THROUGH THE 1950S By Audrey Phillips Advisor: Julia Wrigley This thesis will identify an over looked subset of racial identity as seen through film narratives from the 1930’s through the 1950’s pre-Civil Rights era.
    [Show full text]
  • Stardom Film” King’S College London, 13 September 2013
    1 A Star Is Born: Cinematic Reflections on Stardom and the “Stardom Film” King’s College London, 13 September 2013 A Report by Shelagh M. Rowan-Legg, King’s College London In September 2013, the Film Studies Department at King’s College London hosted a conference entitled “A Star Is Born: Cinematic Reflections on Stardom and the ‘Stardom Film’”. Hosted by doctoral students Olga Kourelou and Kulraj Phullar, the conference took the theme of stardom, or stars as characters, as its subject matter. It aimed to explore the diversity of stardom, especially in non-English language, art or avant-garde cinema. The papers presented explored expressions of stardom at different historical and/or national cinematic moments. The conference keynote speakers were Professor Rachel Dwyer and Professor Mandy Merck, supported by two sessions with two parallel panels respectively. The various topics considered included stardom films, systems of stardom, stars as image authors and the reinvention of the star image. It proved an insightful, interesting conference, with papers and perspectives on cinemas, and of course stars, that have not received great academic attention. The first keynote speaker, Rachel Dwyer (School of Oriental and Asian Studies, University of London), spoke on the family dynasty of Indian cinema, the Kapoors. While Western cinema has seen acting dynasties such as the Barrymores and Richardson/Redgraves, the Kapoors are directors and producers as well as actors. There is a lineage of stardom, but also an achieved stardom; the family assists the various younger members through lifelong training. The generations have developed alongside Indian cinema: the older generation, the biggest star of which is Raj Kapoor, worked mainly in films addressing grand narratives and historical films; the next generation turned more to comedies and musicals.
    [Show full text]
  • IN FOCUS: African American Caucus
    IN FOCUS: African American Caucus Introduction: When and Where We Enter by BERETTA E. SMITH-SHOMADE, RACQUEL GATES, and MIRIAM J. PETTY, editors “Don’t call it a comeback, I been here for years.” —LL Cool J, “Mama Said Knock You Out” (1990) “Wake up!” —Spike Lee, School Daze (1988) “Memory is a selection of images. Some elusive, others printed indelibly on the brain.” —Kasi Lemmons, Eve’s Bayou (1997) hen we fi rst began to assemble this In Focus on black media, our excitement was quickly tempered by the enormity of the undertaking.1 Should the essays focus on mainstream or in- dependent media? Would the contributors emphasize texts, pedagogy, or research? To what extent should we address issues of Widentity facing not only this type of scholarship but also the scholars themselves? Ultimately, we decided to take on all these questions, using Stuart Hall’s provocation “What Is This ‘Black’ in Black Popular Cul- ture?” as both prompt and connective thread. Written in 1992, Hall’s essay still carries particular resonance for this contemporary moment in media history. Hall makes it clear that issues of identity, represen- tation, and politics will always converge around blackness. Further, Hall’s own academic background reminds us that, as a fi eld, black media studies has always drawn on discourses and scholarship from multiple academic disciplines. This context is particularly important 1 We have chosen to use the term black when describing media texts and elements of popular culture and African American when referring to individuals and groups of people. In the essays that follow, however, the authors use these terms in many different ways.
    [Show full text]
  • Paul, Timothy, and the Respectability Politics of Race: a Womanist Inter(Con)Textual Reading of Acts 16:1–5
    religions Article Paul, Timothy, and the Respectability Politics of Race: A Womanist Inter(con)textual Reading of Acts 16:1–5 Mitzi J. Smith Ashland Theological Seminary, Southfield, MI 48075, USA; [email protected] Received: 10 February 2019; Accepted: 10 March 2019; Published: 13 March 2019 Abstract: In this paper, I interpret the story of the Apostle Paul’s circumcision of Timothy in the New Testament text The Acts of the Apostles (16:1–5) from a womanist perspective. My approach is intersectional and inter(con)textual. I construct a hermeneutical dialogue between African American women’s experiences of race/racism, respectability politics, and the Acts’ narrative. In conversation with critical race theorists Naomi Zack, Barbara and Karen Fields, and black feminist E. Frances White, I discuss the intersection of race/racism, gender, geopolitical Diasporic space, and the burden and failure of respectability politics. Respectability politics claim that when non-white people adopt and exhibit certain proper behaviors, the reward will be respect, acceptance, and equality in the white dominated society, thereby ameliorating or overcoming race/racism. Race and racism are modern constructions that I employ heuristically and metaphorically as analytical categories for discussing the rhetorical distinctions made between Jews and Greeks/Gentiles, Timothy’s bi-racial status, and to facilitate comparative dialogue between Acts and African American women’s experiences with race and racism. I argue that Paul engages in respectability politics by compelling Timothy to be circumcised because of his Greek father and despite the Jerusalem Council’s decision that Gentile believers will not be required to be circumcised.
    [Show full text]
  • African American History of Los Angeles
    LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: African American History of Los Angeles Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources FEBRUARY 2018 SurveyLA Citywide Historic Context Statement Context: African American History of Los Angeles Certified Local Government Grant Disclaimers The activity that is the subject of this historic context statement has been financed in part with Federal funds from the National Park Service, Department of Interior, through the California Office of Historic Preservation. However, the contents and opinions do not necessarily reflect the views or policies of the Department of the Interior or the California Office of Historic Preservation, nor does mention of trade names or commercial products constitute endorsement or recommendation by the Department of the Interior or the California Office of Historic Preservation. This program receives Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Age Discrimination Act of 1975 as amended, the Department of the Interior prohibits discrimination based on race, color, national origin, disability, or age in its federally assisted programs. If you believe you have been discriminated against in any program, activity, or facility as described above, or if you desire further information, please write to: Office of Equal Opportunity National Park Service 1849 C Street, N.W. Washington
    [Show full text]
  • FC-Cinephilia-1-6 1..240
    * pb ‘Cinephilia’ 07-06-2005 11:02 Pagina 1 The anthology Cinephilia: Movies, Love and Memory explores new periods, practices and definitions of what it means to love the cinema. [EDS.] AND HAGENER CINEPHILIA DE VALCK The essays demonstrate that beyond individu- FILM FILM alist immersion in film, typical of the cinephilia as it was popular from the 1950s to the 1970s, CULTURE CULTURE a new type of cinephilia has emerged since the IN TRANSITION IN TRANSITION 1980s, practiced by a new generation of equally devoted, but quite differently networked cine- philes. The film lover of today embraces and uses new technology while also nostalgically remembering and caring for outdated media for- mats. He is a hunter-collector as much as a mer- chant-trader, a duped consumer as much as a media-savvy producer. Marijke de Valck is a PhD candidate at the Department of Media Studies, Uni- versity of Amsterdam. Malte Hagener teaches Film and Media Studies at CinephiliaCinephilia the Department of Media Studies at the Friedrich Schiller University Jena. Movies,Movies, LoveLove andand MemoryMemory ISBN 90-5356-768-2 EDITEDEDITED BY BY MARIJKEMARIJKE DE DE VALCK VALCK MALTEMALTE HAGENER HAGENER 9 789053 567685 Amsterdam University Press AmsterdamAmsterdam UniversityUniversity PressPress WWW.AUP.NL Cinephilia Cinephilia Movies, Love and Memory Edited by Marijke de Valck and Malte Hagener Amsterdam University Press Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 768 2 (paperback) isbn 90 5356 769 0 (hardcover) nur 674 © Amsterdam University Press, Amsterdam 2005 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.
    [Show full text]