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The US Anti- Apartheid Movement and Civil Rights Memory
BRATYANSKI, JENNIFER A., Ph.D. Mainstreaming Movements: The U.S. Anti- Apartheid Movement and Civil Rights Memory (2012) Directed by Dr. Thomas F. Jackson. 190pp. By the time of Nelson Mandela’s release from prison, in 1990, television and film had brought South Africa’s history of racial injustice and human rights violations into living rooms and cinemas across the United States. New media formats such as satellite and cable television widened mobilization efforts for international opposition to apartheid. But at stake for the U.S. based anti-apartheid movement was avoiding the problems of media misrepresentation that previous transnational movements had experienced in previous decades. Movement participants and supporters needed to connect the liberation struggles in South Africa to the historical domestic struggles for racial justice. What resulted was the romanticizing of a domestic civil rights memory through the mediated images of the anti-apartheid struggle which appeared between 1968 and 1994. Ultimately, both the anti-apartheid and civil rights movements were sanitized of their radical roots, which threatened the ongoing struggles for black economic advancement in both countries. MAINSTREAMING MOVEMENTS: THE U.S. ANTI-APARTHEID MOVEMENT AND CIVIL RIGHTS MEMEORY by Jennifer A. Bratyanski A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2012 Approved by Thomas F. Jackson Committee -
Transcript a Pinewood Dialogue with Melvin And
TRANSCRIPT A PINEWOOD DIALOGUE WITH MELVIN AND MARIO VAN PEEBLES Legendary maverick Melvin Van Peebles is a novelist, composer, and filmmaker who has also worked in television, popular music, and theater. After spending the 1960s in Paris, he returned to the United States and made the groundbreaking 1971 film Sweet Sweetback’s Baadasssss Song . The stunning box-office success of this subversive and sexy film paved the way for filmmakers such as Mario Van Peebles, who directed New Jack City and Panther . Mario paid tribute to his father with his 2003 movie Baadasssss ; in this lively discussion, Van Peebles père et fils share a lifetime of experience and a playful father-son rivalry. A Pinewood Dialogue following a screening of course, when I made my first films, I went down to Sweet Sweetback’s Baadasssss Song , Hollywood and they offered me a job, but as an moderated by Chief Curator David Schwartz elevator operator. I said, “No, I don’t want—I want (May 8, 2004): to really be in front of the camera or doing creative things.” And that was—they offered me a job as a SCHWARTZ : Please welcome Melvin and Mario Van dancer. Peebles. (Applause) Anyway, long story short, I went to Holland. Melvin, your first experience in Hollywood was Through another fluke that’s too long to go into doing comedies. Of course, you did Watermelon here, my short films that had been turned down in Man . I guess you were with Universal for a while; Hollywood were seen in France, and France invited you were signed on. -
If It's New Year's Eve, It Must Be Ryan Seacrest
Visit Our Showroom To Find The Perfect Lift Bed For You! Dec. 27, 2019 - Jan. 2, 2020 Ryan Seacrest hosts “Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest“ Tuesday on ABC. 2 x 2" ad 300 N Beaton St | Corsicana | 903-874-82852 x 2" ad M-F 9am-5:30pm | Sat 9am-4pm milesfurniturecompany.com FREE DELIVERY IN LOCAL AREA WA-00114341 V A H R E G N F K N U F F G A Your Key 2 x 3" ad I Z F O Z J O S E P H E O T P B G O P E F A H T E O L V A R To Buying R T A W F P Z E P X L R U Y I and Selling! S L T R Q M A R T I N E Z L L 2 x 3.5" ad C L O J U S T I C E D Q D O M A D K S M C F F S H E E J R F P U I R A X M F L T D Y A K F O O T V S N C B L I U I W L E V J L L O Y G O R H C A Q A H Z A L I Z W H E J I L G M U L E I X C T N I K L U A A J S U B K G G A I E Z A E R N O U G E T E V F D C P X D S E N K A A S X A Y B E S K I L T R A B “Deputy” on Fox Bargain Box (Words in parentheses not in puzzle) Bill (Hollister) (Stephen) Dorff Los Angeles (County) Place your classified Classified Merchandise Specials Solution on page 13 Cade (Ward) (Brian) Van Holt Justice ad in the Waxahachie Daily Light, Merchandise High-End 2 x 3" ad Brianna (Bishop) (Bex) Taylor-Klaus Drama Midlothian Mirror and Ellis Joseph (Harris) (Shane Paul) McGhie Politics County Trading1 Post! x 4" ad Deal Merchandise Word Search Paula (Reyes) (Yara) Martinez (New) Sheriff Call (972) 937-3310 Run a single item Run a single item If it’s New Year’s Eve, it priced at $50-$300 priced at $301-$600 for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily Light, must be Ryan Seacrest Midlothian Mirror and Ellis County Trading2 x 3.5" Post ad and online at waxahachietx.com All specials are pre-paid. -
Walking Wounded
Walking Wounded: Cinematic Representations of Masculine, Post-Modern Anxiety in the Urban Space Penelope Eate B. Soc. Sc. (Hons) Thesis submitted for the degree of Doctor of Philosophy Department of Gender, Work and Social Inquiry, School of Social Sciences University of Adelaide February, 2012 TABLE OF CONTENTS Abstract ..................................................................................................................................... v Declaration ............................................................................................................................... vi Acknowledgements .................................................................................................................. vii INTRODUCTION __________________________________________ 1 CHAPTER ONE Going Nowhere: Urban Strolling as Masculine Anxiety In and Out of the Nineteenth Century __________________________________________ 18 Introduction .............................................................................................................................. 18 The Physiology of the Urban Sketcher.................................................................................... 19 Flânerie as Crisis ...................................................................................................................... 20 Detecting Dissent in Edgar Allan Poe‟s „The Man of The Crowd‟ (1845) ......................... 22 The Politics of Location: Gender and Public Space ............................................................. -
The Problem of Female Antagonisms in Blaxploitation Cinema Melissa
1 Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema Melissa DeAnn Seifert, University of Wisconsin-Milwaukee Abstract: Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy (Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised. I don’t believe in [women’s lib] for black people … we’re trying to free our black men … I like being a woman. I have been discriminated against, but not because I’m a woman. It’s because I am black … before [people] see me as being female, they see me as being black. The stigma that’s been placed on you because you’re black gives you enough kill to get you through the woman thing … it’s much tougher being black than being a woman. -
ABSTRACT TRUE CRIME DOES PAY: NARRATIVES of WRONGDOING in FILM and LITERATURE Andrew Burt, Ph.D. Department of English Norther
ABSTRACT TRUE CRIME DOES PAY: NARRATIVES OF WRONGDOING IN FILM AND LITERATURE Andrew Burt, Ph.D. Department of English Northern Illinois University, 2017 Scott Balcerzak, Director This dissertation examines true crime’s ubiquitous influence on literature, film, and culture. It dissects how true-crime narratives affect crime fiction and film, questioning how America’s continual obsession with crime underscores the interplay between true crime narratives and their fictional equivalents. Throughout the 20th century, these stories represent key political and social undercurrents such as movements in religious conservatism, issues of ethnic and racial identity, and developing discourses of psychology. While generally underexplored in discussions of true crime and crime fiction, these currents show consistent shifts from a liberal rehabilitative to a conservative punitive form of crime prevention and provide a new way to consider these undercurrents as culturally-engaged genre directives. I track these histories through representative, seminal texts, such as Theodore Dreiser’s An American Tragedy (1925), W.R. Burnett’s Little Caesar (1929, Jim Thompson’s The Killer Inside Me (1952), and Barry Michael Cooper’s 1980s new journalism pieces on the crack epidemic and early hip hop for the Village Voice, examining how basic crime narratives develop through cultural changes. In turn, this dissertation examines film adaptations of these narratives as well, including George Stevens’ A Place in the Sun (1951), Larry Cohen’s Black Caesar (1972), Michael Winterbottom’s The Killer Inside Me (2010), and Mario Van Peeble’s New Jack City (1991), accounting for how the medium changes the crime narrative. In doing so, I examine true crime’s enduring resonance on crime narratives by charting the influence of commonly overlooked early narratives, such as execution sermons and murder ballads. -
Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959). -
UT Vol-11 Layout
Volume 11, No. 3 UrbanTrends SPECIAL EDITION A quarterly newsletter published by Black Youth Sexuality and the Media Dialogue...Discussion...Debate Media Influences Sexual Decision-Making Preston Holmes has more than 20 years I wouldn’t say that it’s [the media] the represented by the media in that experience in the entertainment industry. He pro- most influential factor—that would be respect. But it’s not because I think duced the films Malcolm X, Panther, Posse and peers and peer relationships. One that the kind of images that have been HBO’s Boycott and co-produced New Jack City might wish that it was parental influ- presented in the media are all bad or and Juice. One of Holmes’ future endeavors is ence …that was the most significant, negative or shouldn’t be presented. I producing a documentary on the life of Tupac but that clearly is not the case. run away from any discussion that Shakur. Because the fact of the matter is that starts to suggest the restricting or probably very few of the parents of somehow controlling freedom of these young people ever attempt to expression. To me, that’s not the issue have discussions of these very seri- as much as whether there is enough ous issues with their kids, for whatev- [of a] range of images that are being er reason. presented to us. I don’t see anything wrong with any particular filmmaker or MEE: Why do you think music has a bigger writer presenting any particular story impact than films and TV? ...Continued on page 2 Holmes: I think music has the greater influence because it’s a more perva- sive element of urban culture than anything else. -
Gangs Or 'Real' Gangs: a Qualitative Media Analysis of Street Gangs Portrayed in Hollywood Films, 1960-2009 Christopher J
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects January 2012 'reel' Gangs Or 'real' Gangs: A Qualitative Media Analysis Of Street Gangs Portrayed In Hollywood Films, 1960-2009 Christopher J. Przemieniecki Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Przemieniecki, Christopher J., "'reel' Gangs Or 'real' Gangs: A Qualitative Media Analysis Of Street Gangs Portrayed In Hollywood Films, 1960-2009" (2012). Theses and Dissertations. 1312. https://commons.und.edu/theses/1312 This Dissertation is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ‘REEL’ GANGS or ‘REAL’ GANGS: A QUALITATIVE MEDIA ANALYSIS of STREET GANGS PORTRAYED in HOLLYWOOD FILMS, 1960-2009 by Christopher John Przemieniecki Bachelor of Arts, Wright State University, 1992 Master of Science, Illinois State University, 1994 A Dissertation Submitted to the Graduate Faculty of the University of North Dakota In partial fulfillment of the requirements for the degree of Doctor of Philosophy Grand Forks, North Dakota August 2012 Copyright 2012 Christopher J. Przemieniecki ii iii PERMISSION Title ‘Reel’ Gangs or ‘Real’ Gangs: A Qualitative Media Analysis of Street Gangs Portrayed in Hollywood Films, 1960-2009 Department Criminal Justice Degree Doctor of Philosophy In presenting this dissertation in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the library of this University shall make it freely available for inspection. -
Race and Ethnicity
CHAPTER 3 Race and Ethnicity Victor Joseph: You gotta look mean or people won’t respect you. White people will run all over you if you don’t look mean. You gotta look like a warrior! You gotta look like you just came back from killing a buffalo! Thomas Builds- But our tribe never hunted buffalo—we were fishermen. the-Fire: Victor Joseph: What! You want to look like you just came back from catching a fish? This ain’t “Dances With Salmon” you know! Smoke Signals (1998) Furious Styles: Why is it that there is a gun shop on almost every corner in this community? The Old Man: Why? Furious Styles: I’ll tell you why. For the same reason that there is a liquor store on almost every corner in the black community. Why? They want us to kill ourselves. Boyz n the Hood (1991) he history of race and ethnicity in Hollywood films reflects the racial and ethnic inequalities of American society. In the early 20th century, movies Twere created and exhibited to Eastern European immigrants to encourage assimilation. Whiteness was a status to be achieved, a way of life to emulate, with homogeneity as the goal, at least for immigrants from Europe. However, the por- trayal of most nondominant groups in American film was the story of the “objec- tified Other” (Collins, 2000), created and controlled through practices of exclusion, expulsion, and violence. 65 66 CINEMATIC SOCIOLOGY In 1915, D. W. Griffith made history with the first blockbuster film, The Birth of a Nation. Historians have called the film a major landmark for American cinema, and a “sacrifice of black humanity to the cause of racism” (Cripps, 1977, p. -
In the Cinematic Hood:“Who You Callin'a Hoe?”
European journal of American studies 12-2 | 2017 Summer 2017, including Special Issue: Popularizing Politics: The 2016 U.S. Presidential Election (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a hoe?” Emma Horrex Electronic version URL: http://journals.openedition.org/ejas/12080 DOI: 10.4000/ejas.12080 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Emma Horrex, « (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a hoe?” », European journal of American studies [Online], 12-2 | 2017, document 11, Online since 01 August 2017, connection on 19 April 2019. URL : http://journals.openedition.org/ejas/12080 ; DOI : 10.4000/ ejas.12080 This text was automatically generated on 19 April 2019. Creative Commons License (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a ... 1 (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a hoe?” Emma Horrex 1. Introducing the Black Women and Girls in the Hood via Boyz 1 Amidst an ongoing debate regarding the lack of racial diversity in last year’s Oscar nominations (2016), Boyz N the Hood (Boyz, 1991) was honoured by the African American Film Critics Association during a “Celebration of Hip Hop Cinema” in February 2016, twenty-five years since capturing the public imagination and academic attention. Directed by John Singleton, the film emerged during and reflected an important moment of the post-Reagan political and cinematic landscape. President Bush’s inaugural address in 1989 claimed that America was “in a peaceful, prosperous time” but despite increasing the minimum wage, the economic recession in July 1990 undercut this notion as widespread poverty penetrated the ghettos.i Economic pressures in the late 1980s and early 1990s (largely due to Reagan’s exacerbation of unemployment rates amongst minority groups and dismantling of the welfare system) contributed to the proliferation of street gangs and the underground drugs economy in local urban environments. -
3932-Black Film Directors
AFA 3930 - Section 0808 - SPRING - 2010 African American Studies Program – The University of Florida Dr. Patricia Hilliard-Nunn Class Time: Thursdays 3PM-6PM (8-10) Credit: (03) Three Hours Class Location: Room 0151 PSY Office Location: 211 Walker Hall Office Hours: Tuesdays Noon to 3:00PM Office Phone: 352-392-5726 Other Times By Appointment e-mail: [email protected] COURSE GOAL: The goal of this course is to critically examine the films, experiences, philosophies and contributions of selected Black film directors. COURSE DESCRIPTION: This course provides a historical/social introduction to the works, contributions and experiences of selected Black film directors. The course examines the successes, conflicts, innovations and challenges of specific “independent” and mainstream Black film directors and their impact on society and specific Black communities. Black film directors are heterogeneous and produce works in all genres which address every issue in our culture and work with subjects specific and nonspecific to the Black community. Classes will consist of lectures, discussions, film screenings, team presentations, and individual presentations. Students will also view assigned films outside of class. COURSE OBJECTIVES: Each student will be able to: 1) utilize basic film analysis and terminology (narrative form, set design, , “mise-en-scene,” auteur, content) in discussing the work of selected Black film directors, 2) name and describe the works of a sample of Black “independent” and “mainstream” film directors, 4) demonstrate an