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Spectacle, Masculinity, and Music in Blaxploitation Cinema
Spectacle, Masculinity, and Music in Blaxploitation Cinema Author Howell, Amanda Published 2005 Journal Title Screening the Past Copyright Statement © The Author(s) 2005. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/4130 Link to published version http://www.latrobe.edu.au/screeningthepast/ Griffith Research Online https://research-repository.griffith.edu.au Spectacle, masculinity, and music in blaxploitation cinema Spectacle, masculinity, and music in blaxploitation cinema Amanda Howell "Blaxploitation" was a brief cycle of action films made specifically for black audiences in both the mainstream and independent sectors of the U.S. film industry during the early 1970s. Offering overblown fantasies of black power and heroism filmed on the sites of race rebellions of the late 1960s, blaxploitation films were objects of fierce debate among social leaders and commentators for the image of blackness they projected, in both its aesthetic character and its social and political utility. After some time spent as the "bad object" of African-American cinema history,[1] critical and theoretical interest in blaxploitation resurfaced in the 1990s, in part due to the way that its images-- and sounds--recirculated in contemporary film and music cultures. Since the early 1990s, a new generation of African-American filmmakers has focused -
Dolemite Is My Name
DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not 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 prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
Afro-Future Females
Afro-Future Females Barr_final.indb 1 4/15/2008 2:52:25 AM Barr_final.indb 2 4/15/2008 2:52:25 AM Afro-Future Females Black Writers Chart Science Fiction’s Newest New-Wave Trajectory Edited by MARLEEN S. BARR T H E O H I O S TAT E U N I V E R S I T Y P R E ss / Columbus Barr_final.indb 3 4/15/2008 2:52:25 AM Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Afro-future females : black writers chart science fiction’s newest new-wave trajectory / edited by Marleen S. Barr. p. cm. Includes bibliographical references. ISBN-13: 978–0–8142–1078–9 (cloth : alk. paper) 1. Science fiction, American. 2. Science fiction, American—History and criticism. 3. American fiction—African American authors—History and criticism. 4. American fic- tion—Women authors—History and criticism. 5. Women and literature—United States— History—20th century. 6. Women and literature—United States—History—21st century. I. Barr, Marleen S. PS648.S3A69 2008 813.’0876209928708996073—dc22 2007050083 This book is available in the following editions: Cloth (ISBN 978–0–8142–1078–9) CD-ROM (ISBN 978–0–8142–9156–6) Cover design by Janna Thompson Chordas. Text design by Jennifer Shoffey Forsythe. Type set in Adobe Minion. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Barr_final.indb 4 4/15/2008 2:52:25 AM Contents PRefAce “All At One Point” Conveys the Point, Period: Or, Black Science Fiction Is Bursting Out All Over ix IntRODUctiOns: “DARK MAtteR” MAtteRS l Imaginative Encounters Hortense J. -
Page 4 (January and July Are Off Months)
M A R K E T I N T E R V I E W S 10 Feature: The Art of Pitching Your Screenplay! 4 Still Old School, Larry Cohen Talks CELLULAR - by Chris Wehner 16 Craft Column: Working in Back Story At the age of 64, Cohen became an A-List screenwriter by rein- venting himself from a B movie and exploitation filmmaker into 17 A Screenwriting Life: Scott Frank a high concept screenwriter who has done more than anyone in recent memory to conjure up Hitchcockian premises. Larry Cohen started his career in New York writing television for NBC. He created the 1960s sci-fi show The Invaders. Cohen then moved into Hollywood production, writing scripts for such films as Return of the Magnificent Seven (1966) and Daddy’s Gone A-Hunting (1969). The writer soon was writ- ing and directing low-budget blaxploitation flicks Black Caesar and Hell Up in Harlem (both in 1973), and cheap exploitation horror films. As a B filmmaker, Cohen then turned out what is still considered a classic, It’s Alive (1974), a ghastly but undeni- ably effective yarn about a killer baby (with music by Bernard Herrmann). Never slick or expensive, Cohen’s films always maintained interest by falling back on the bazaar or unexpect- ed. ADVERTISING STAFF/CONTRIBUTORS Melfi & Associates handles all web Publishers and print advertising for Chris Wehner Screenwriter’s Monthly. If you Phil Melfi ([email protected]) would like more information about Editor-in-Chief advertising please call Phil Melfi @ Chris Wehner 702.932.4096. ([email protected]) SUBMISSIONS West Coast Editor Fred Topel -
Programa Del 20 Al 24 De Mayo De 2019
ULIMA | SALA DE CINE VENTANA INDISCRETA | CICLO DE DIRECTORES: LARRY COHEN PROGRAMA DEL 20 AL 24 DE MAYO DE 2019 FUNCIONES LUNES 20 DE MAYO MARTES 21 DE MAYO MIÉRCOLES 22 DE MAYO JUEVES 23 DE MAYO VIERNES 24 DE MAYO Guerra en Harlem Estoy vivo Sigue vivo God Told Me To (Hell up in Harlem) (It’s Alive) (It’s Alive 2: It Lives Again) Dirección: Larry Cohen Dirección: Larry Cohen Dirección: Larry Cohen Dirección: Larry Cohen Género: Terror Género: Acción, crimen Género: Terror Género: Terror Actores: Tony Lo Bianco, Deborah Actores: Fred Williamson, Julius Actores: John P. Ryan, Sharon Actores: Frederic Forrest, Kathleen Raffin, Sandy Dennis 13.00 Harris, Gloria Hendry, Margaret Farrell, James Dixon, William Lloyd, John P. Ryan, John Marley País: Estados Unidos horas Avery Wellman Jr. País: Estados Unidos Año: 1976 País: Estados Unidos País: Estados Unidos Año: 1978 Idioma: Inglés con subtítulos en Año: 1973 Año: 1974 Idioma: Inglés con subtítulos en español Idioma: Inglés con subtítulos en Idioma: Inglés con subtítulos en español Duración: 1 h 31 min español español Duración: 1 h 31 min Formato: Digital Duración: 1 h 34 min Duración: 1 h 31 min Formato: Digital Formato: Digital Formato: Digital Estoy vivo Sigue vivo Efectos especiales La serpiente voladora (It’s Alive) (It’s Alive 2: It Lives Again) (Special Effects) (Q: The Winged Serpent) Dirección: Larry Cohen Dirección: Larry Cohen Dirección: Larry Cohen Dirección: Larry Cohen Género: Terror Género: Terror Género: Thriller Género: Terror Actores: John P. Ryan, Sharon Actores: Frederic Forrest, Kathleen Actores: Zoë Lund, Eric Bogosian, Actores: Michael Moriarty, Candy Farrell, James Dixon, William Lloyd, John P. -
Melodramas of Ethnicity and Masculinity: Generic
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank MELODRAMAS OF ETHNICITY AND MASCULINITY: GENERIC TRANSFORMATIONS OF LATE TWENTIETH CENTURY AMERICAN FILM GANGSTERS by LARISSA ENNIS A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment for the requirements for the degree of Doctor of Philosophy March 2012 DISSERTATION APPROVAL PAGE Student: Larissa Ennis Title: Melodramas of Ethnicity and Masculinity: Generic Transformations of Late Twentieth Century American Film Gangsters This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Dr. Kathleen Karlyn Chair Dr. Michael Aronson Member Dr. Elizabeth Wheeler Member Dr. Janet Wasko Outside Member and Kimberly Andrews Espy Vice President for Research and Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2012 ii © 2012 Larissa Ennis iii DISSERTATION ABSTRACT Larissa Ennis Doctor of Philosophy Department of English March 2012 Title: Melodramas of Ethnicity and Masculinity: Generic Transformations of Late Twentieth Century American Film Gangsters The gangster film genre in America has enjoyed a long history, from the first one- reelers The Silver Wedding and The Black Hand in 1906, through a rich classical period in the 1930s, and more recently transitioning onto television in series like The Sopranos (1999-2007) and Boardwalk Empire (2010-present). The most remarkable characteristics of the gangster genre are its ethnically or racially non-white protagonist and the tendency for the gangster to experience an identity-challenging loss. -
The Cinematography of Roger Corman
The Cinematography of Roger Corman The Cinematography of Roger Corman: Exploitation Filmmaker or Auteur? By Pawel Aleksandrowicz The Cinematography of Roger Corman: Exploitation Filmmaker or Auteur? By Pawel Aleksandrowicz This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Pawel Aleksandrowicz All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9947-X ISBN (13): 978-1-4438-9947-5 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Chapter One ................................................................................................. 6 Auteur Theory and Exploitation Films 1. Introduction ........................................................................................ 6 2. Auteur theory ..................................................................................... 6 3. Exploitation cinema ......................................................................... 14 4. Exploitation filmmakers as auteurs? ............................................... -
Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020
Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020 Each entry below consists of the name of a film, the year of its release, an abbreviation of the network(s) that presented it, and the number of its overall presentations. Networks and their respective abbreviations are: American Movie Classics (AMC) Paramount Television Network (PARA) BBC America (BBCA) Showtime (SHOW) FREE (FREE) STARZ (STARZ) FX Movie Channel (FXM) SYFY (SYFY) Home Box Office (HBO) Turner Broadcasting System (TBS) IFC (IFC) THIS TV (THIS) MOVIES! TV Network (MOVIES) TNT (TNT) Ovation TV (OVA) Turner Classic Movies (TCM) 1989 150 Films 4,958 Presentations 33,1 Average A Deadly Silence (1989) MOVIES 1 A Dry White Season (1989) TCM 4 A Nightmare on Elm Street 5: The Dream Child (1989) SYFY 7 All Dogs Go to Heaven (1989) THIS 7 Always (1989) STARZ 69 American Ninja 3: Blood Hunt (1989) STARZ 2 An Innocent Man (1989) HBO 5 Back to the Future Part II (1989) MAX/STARZ/SHOW/SYFY 272 Batman (1989) SYFY/TNT/AMC/IFC 24 Best of the Best (1989) STARZ 16 Bill & Ted’s Excellent Adventure (1989) STARZ 140 Black Rain (1989) SHOW/MOVIES/MAX 85 Blind Fury (1989) THIS 15 1 [email protected] Born on the Fourth of July (1989) MAX/BBCA/OVA/STARZ/HBO 201 Breaking In (1989) THIS 5 Brewster’s Millions (1989) STARZ 2 Bridge to Silence (1989) THIS 9 Cabin Fever (1989) MAX 2 Casualties of War (1989) SHOW 3 Chances Are (1989) MOVIES 9 Chattahoochi (1989) THIS 9 Cheetah (1989) TCM 1 Cinema Paradise (1989) MAX 3 Coal Miner’s Daughter (1989) STARZ 1 Collision -
Blaxploitation
NOIR OR NOT Steve Kronenberg BLAXPLOITATION laxploitation.” Next to noir, it’s arguably the most 1973’s Black Caesar, written, produced, and directed by the imprecise, misused word in the language of cin- late B-movie maestro Larry Cohen. Cohen modeled Black ema. It was coined in 1972 by NAACP leader Caesar’s title and plot on the gangster classic Little Junius Griffin in response to the release of Caesar (1931), but the film’s lead character, Tommy “BSuperfly. Griffin argued that the film, and others that Gibbs, more closely resembles James Cagney’s followed in its wake, unfairly stereotyped Afri- Tom Powers in 1931’s The Public Enemy. Both can American characters as pimps, hus- Gibbs and Powers are vicious hoodlums who tlers, and criminals. The word has since enter the criminal underworld at an early age. been used by moviegoers and critics We’re introduced to a twelve-year-old to marginalize and “profile” a group Gibbs (Omer Jeffrey) polishing shoes outside of films released in the mid-1970s a blighted Harlem hotel. When the scrappy kid featuring black casts in a variety of isn’t snapping a shine rag, he’s working as a mob genres. Many of these are two-fisted courier, delivering dirty money to an even dirtier cop action vehicles, not much different named John McKinney (the perfectly reptilian Art from movies starring Charles Bron- Lund). McKinney’s corruption is stained with son, Clint Eastwood, and Bruce Lee. a virulent racism. When the bigoted flat- Others are violent, cynical takes on foot suspects Gibbs of pocketing the pathological effects of urban part of his payoff, he spits decay and corruption—films racial slurs and beats the that deserve a place alongside youngster nearly to such notable neo-noirs as Dirty death, leaving the Harry (1971), The French Con- boy with a broken nection (1971), and Mean leg, a permanent Streets (1973). -
Samuel Z. Arkoff Papers
http://oac.cdlib.org/findaid/ark:/13030/kt5m3nf3rs No online items Inventory of the Samuel Z. Arkoff Papers Mor Fleisher-Leach, Natalie Sims William H. Hannon Library Loyola Marymount University One LMU Drive, MS 8200 Los Angeles, CA 90045-8200 Phone: (310) 338-5710 Fax: (310) 338-5895 Email:[email protected] URL: http://library.lmu.edu/ © 2011 Loyola Marymount University. All rights reserved. Inventory of the Samuel Z. Arkoff 080 1 Papers Samuel Z. Arkoff Papers Collection number: 080 William H. Hannon Library Loyola Marymount University Los Angeles, California Processed by: Mor Fleisher-Leach, Natalie Sims Date Completed: 2011 Encoded by: Mor Fleisher-Leach, Natalie Sims © 2011 Loyola Marymount University. All rights reserved. Descriptive Summary Title: Samuel Z. Arkoff papers Dates: 1921-2008 Bulk Dates: 1965-1999 Collection number: 080 Creator: Arkoff, Samuel Z. Collection Size: 96 archival document boxes, 16 oversize archival boxes, 2 map case drawers Repository: Loyola Marymount University. Library. Department of Archives and Special Collections. Los Angeles, California 90045-2659 Abstract: The Samuel Z. Arkoff Papers consist of pressbooks, posters, lobby cards, film stills, combined continuities, publicity files and organizational files chronicling Samuel Z. Arkoff's career as a motion picture producer and executive. Physical location: Department of Archives and Special Collections. William H. Hannon Library. Loyola Marymount University. Languages: Languages represented in the collection: English Access Collection is open to research under the terms of use of the Department of Archives and Special Collections, Loyola Marymount University. Publication Rights Materials in the Department of Archives and Special Collections may be subject to copyright.