DOCSLIB.ORG

Publicly Available Materials Lillian Gish Interviews on Youtube

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Publicly Available Materials Lillian Gish Interviews on Youtube Publicly Available Materials Lillian Gish Interviews on YouTube [unknown, British, 1969] https://youtu.be/yO_sYLq06hI Cavette, 1971. https://youtu.be/ZOPY_8Gch-4 Griffith, 1980 https://www.youtube.coM/watch?v=7V3oc5Ms1ro Boggs, 1981 https://www.youtube.coM/watch?v=z3ZUTU9fwpA Rivers, 1983 https://youtu.be/lNSoWbYY1fw Good Morning, Jan22, 1987 https://youtu.be/MR78bPQ8UFg [unknown]. “Lillian Gish on d.W. Griffith & Birth Of A Nation.” https://youtu.be/Wz5idHKe_uQ Works Consulted Affron, C. (2002). Lillian Gish: Her legend, her life. Berkeley: University of California Press. Anti-defaMation League, “14 Words.” https://www.adl.org/education/references/hate- syMbols/14-words Baker, C. (2006). EMMett Till, justice, and the task of recognition. The Journal of American Culture, 29(2), 111-124. Bogle, donald. “Birth of a Nation.” (TCM Broadcast with coMMentary]. https://app.fraMe.io/presentations/b26b1256-c0d5-4d04-a8cc-e848ee80af67 Bowling Green State University. (1983). Lillian Gish and her art are finding a hoMe at BGSU. At Bowling Green 13(1), 1-2. [British FilM Institute}. (2015). “The Birth of a Nation at 100 discussion.” BFI. https://www.youtube.coM/watch?v=wbBYa9XHvhY Brows Held High. Why You Shouldn't Watch The Birth of a Nation (and why you should) https://www.youtube.coM/watch?v=aWroitR49Uc Cook, d. A. (2016). A history of narrative film. WW Norton & CoMpany. Charlesworth, Paul. “David Wark Griffith: The Father of Motion Pictures !” http://pages.Mtu.edu/~pcharles/GISH/dwg.htMl [Christian Science Monitor.] “Lillian Gish -- froM silent filMs to TV specials.” CSM February 13, 1981. https://www.csMonitor.coM/1981/0213/021300.htMl Cosby, Bill and Donald Bogle. “TCM Birth of a Nation: Race and Hollywood.” https://www.youtube.coM/watch?v=jIFnFltJM8Q CraM, B. Gray, S. (director). (2017). Birth Of A MoveMent [Video file]. PBS. Retrieved April 17, 2019, froM Kanopy. Day, Jacque. “Western Kentucky's Night Riders: Activists, or Terrorists?” https://www.wkMs.org/post/western-kentuckys-night-riders-activists-or-terrorists#streaM/0 [DGA] “dGA Retires dw Griffith Award: Guild to Create a New Career AchieveMent Award. https://www.dga.org/News/PressReleases/1999/1214-DGA-Retires-DW-Griffith-Award-Guild- to-Create-a-New-Career-Achievement-Award.aspx Dixon, ThoMas F. Jr. (1905). The Clansman: A Historical Romance of the Ku Klux Klan. Rpt. U Kentucky P (1970) Florida division of Library and InforMation Services. “Rosewood.” https://dos.Myflorida.coM/library-archives/research/explore-our-resources/florida-history- culture-and-heritage/rosewood/#newspaper Fristoe, Roger. “Lillian Gish ReMeMbers the Silent Era.” TCM. http://www.tcM.coM/this- Month/article/1042501%7C1043579/Lillian-Gish-ReMeMbers-the-Silent-Era.htMl Fry, Gladys-Marie. Night Riders in Black Folk History . U North Carolina Press. Gates, Henry Louis Jr. Reconstruction. PBS. https://www.pbs.org/weta/reconstruction/ Gish, L., & Pinchot, A. (1969). Lillian Gish: The Movies, Mr. Griffith, and Me. Englewood Cliffs, N.J: Prentice-Hall. Gish, Lillian. “The Birth of an Era,” Stage, [no Month]:1937. http://www.oldMagazinearticles.coM/Lillian_Gish_star_of_Birth_of_a_Nation-pdf Griffith. d.W. (1915). The Birth of a Nation. https://www.youtube.coM/watch?v=8PrYrRt-M1s Griffith, David Wark. (1916).The Rise and Fall of Free Speech in America. {s.n.] https://archive.org/details/riseandfallfree00grifgoog/page/n4 Hill, donna. “The dorothy Gish Project.” https://www.dorothy-gish.coM/index.htMl History.coM Editors. “D.W. Griffith's 'Birth of A Nation' Opens, Glorifying the KKK.” https://www.history.coM/this-day-in-history/birth-of-a-nation-opens History.coM Editors. “Rosewood Massacre.” https://www.history.coM/topics/early-20th- century-us/rosewood-massacre Kehr, dave. “Lillian Gish.” Chicago Tribune March 14, 1993. https://www.chicagotribune.coM/news/ct-xpM-1993-03-14-9303180232-story.htMl Krebs, Albin. “Lillian Gish, 99, a Movie Star Since Movies Began, is dead.” New York Times March 1, 1993. https://www.nytiMes.coM/1993/03/01/Movies/lillian-gish-99-a-movie-star- since-movies-began-is- dead.htMl?Mtrref=www.google.coM&gwh=FB192E7D5FF7A183C57A4A460EF6639B&gwt=pay LaCour, M. (2013) adapted froM Jackson, B., & HardiMan, R. (2006). ContinuuM on becoMing an anti-racist, Multicultural institution. Lehr, d. (2014). The Birth of a Nation: How a Legendary Filmmaker and a Crusading Editor Reignited America's Civil War. PublicAffairs. Levitz, Eric. (2019). “Ta-Nehisi Coates Is an OptiMist Now A conversation about race and 2020.” New York [Magazine] march 17, 2019. http://nyMag.coM/intelligencer/2019/03/ta-nehisi- coates-race-politics-2020-elections.htMl Lillian Gish: A Century of dreaMs. https://lilliangish1893.coM McGilligan, P. (2007). Oscar Micheaux, the Great and Only: The Life of America's First Black Filmmaker. HarperCollins. McEwan, P. (2015). BFI Film Classics: The Birth of a Nation. BFI Publishing. McGilligan, P. (2007). Oscar Micheaux, the Great and Only: The Life of America's First Black Filmmaker. HarperCollins. McWhirter, C. (2011). Red summer: The summer of 1919 and the awakening of Black America. Henry Holt and CoMpany. [MuseuM of Modern Art] (n.d.). “D. W. Griffith’s Intolerance.” https://www.MoMa.org/explore/inside_out/2009/11/24/d-w-griffiths-intolerance/ Powell, Lisa. “Dayton’s first Movie stars: The Gish sisters, silent filM idols in Hollywood’s infancy.” Dayton Daily News February 26, 2018. https://www.daytondailynews.coM/news/dayton-first-movie-stars-the-gish-sisters-silent-filM- idols-hollywood-infancy/QLE4pZp987zoTHngxRuRZP/ Ohio History Central. “Lillian d. Gish.” http://www.ohiohistorycentral.org/w/Lillian_d._Gish Rosenwald, Michael. “The Ku Klux Klan was dead. The First Hollywood blockbuster revived it.” https://www.washingtonpost.coM/news/retropolis/wp/2017/07/08/the-ku-klux-klan-had- been-destroyed-then-the-first-hollywood-blockbuster-revived- it/?noredirect=on&utM_terM=.645928c93b7a Simcovitch, MaxiM. (1972) The Impact of Griffith’s Birth of a Nation on the Modern Ku Klux Klan, Journal of Popular Film, 1:1, 45-54. Smith, Wendy. “Lillian Gish: Her Legend, Her Life.” Variety February 22, 2001. https://variety.coM/2001/More/reviews/lillian-gish-her-legend-her-life-1200466640/ Southern Poverty Law Center. “Ku Klux Klan: A History of RacisM.” https://www.splcenter.org/20110228/ku-klux-klan-history-racisM van Vechten, Carl. “Lillian Gish.” http://brbl- archive.library.yale.edu/exhibitions/cvvpw/gallery/gish1.htMl WhitMan, Charles S. (1963) “dorothy Gish: Silhouette.”The Harvard Crimson March 12, 1963. Cosby, Bill and Donald Bogle. “TCM Birth of a Nation: Race and Hollywood.” https://www.youtube.coM/watch?v=jIFnFltJM8Q Documents from the BGSU Archives Various Authors (1972-1981). Letters, MeMos, Additional Correspondence. Bowling Green State University Archives (Faculty Senate and OlscaMp, Box 59). BGSU Libraries, Bowling Green, OH. .
Load more

Recommended publications
  • The Birth of a Nation As American Myth
    Journal of Religion & Film Volume 8 Issue 3 October 2004 Article 6 October 2004 The Birth of a Nation as American Myth Richard Salter Hobart and William Smith Colleges, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Salter, Richard (2004) "The Birth of a Nation as American Myth," Journal of Religion & Film: Vol. 8 : Iss. 3 , Article 6. Available at: https://digitalcommons.unomaha.edu/jrf/vol8/iss3/6 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Birth of a Nation as American Myth Abstract The Birth of a Nation was one of the most important films of all time, both for its technical and aesthetic achievements and for its enduring legacy of racism. This paper uses Bruce Lincoln's approach to myth as a form of discourse and Robert Bellah's notion of civil religion to show how Birth might be understood as a mythic component of American civil religion. From this perspective, Birth serves as a paradigmatic story of American origins rooted in ideas of white supremacy. At the end of the article Oscar Micheaux's work, Within our Gates, is used to briefly demonstrate filmic strategies for countering Birth as myth. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol8/iss3/6 Salter: The Birth of a Nation as American Myth The release of The Birth of a Nation (1915) forever changed the movies.
    [Show full text]
  • Counterfeits Read What One of the GREATEST NEWSPAPERS in AMERICA Has to Bay on This Subject: Revival Under Way, Says ' Thought from J
    t6 TIIE MORNING OREG ONIAN, THURSDAY, SEPTEMBER 18, 1919. BIG THINGS SEE N IN THEFT FROM BODY OF OREGON AGRICULTURE DEAD Ml SUSPECTED Counterfeits Read what one of the GREATEST NEWSPAPERS IN AMERICA has to Bay on this subject: Revival Under Way, Says ' Thought From J. Real yj J $500 Stolen .... x v "The manufacturers of Castoria have been compelled to spend of C. J. Mcintosh. R. Patterson. hundreds thousands of dollars to familiarize the public with the signature of Chas. H. Fletcher. This has been necessitated by reason of pirates counterfeiting the Castoria trade- GOOD TEAM WORK COUNTS FUNERAL SET FOR TODAY mark. This counterfeiting is a crime not only against the proprietors of Castoria, ' but against the growing generation. All persons should be careful to see that i t- - , . i'armer and Scientist Are "Working V f Mr. Tumulty Sends President's Sym Castoria bears the signature of Chas. H. Fletcher, if they would guard the health Together and Significant Re- yyr pathy Over Death of Retired Bus of their children. Parents, and mothers in particular, ought to carefully examine Already Appear, sults iness Man, Active War Worker. the Castoria advertisements which have been appearing in this paper, and to re- member that the wrapper of every bottle of genuine Castoria bears the fac-sim- ile The biggest fact in Oregon's indus- Investigation of what may have been Chas. H. under whose supervision been trial development is the revival of ag- theft of nearly 500 from the body of signature of Fletcher, it has manufactured riculture, reports C.
    [Show full text]
  • Citizen Kane
    A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M CC II TT II ZZ EE NN KK AA NN EE Directed by Orson Welles Produced by Orson Welles Distributed by RKO Radio Pictures Released in 1941 n any year, the film that wins the Academy Award for Best Picture reflects the Academy ' s I preferences for that year. Even if its members look back and suffer anxious regret at their choice of How Green Was My Valley , that doesn ' t mean they were wrong. They can ' t be wrong . It ' s not everyone else ' s opinion that matters, but the Academy ' s. Mulling over the movies of 1941, the Acade my rejected Citizen Kane . Perhaps they resented Orson Welles ' s arrogant ways and unprecedented creative power. Maybe they thought the film too experimental. Maybe the vote was split between Citizen Kane and The Maltese Falcon , both pioneering in their F ilm Noir flavor. Or they may not have seen the film at all since it was granted such limited release as a result of newspaper baron William Randolph Hearst ' s threats to RKO. Nobody knows, and it doesn ' t matter. Academy members can ' t be forced to vote for the film they like best. Their biases and political calculations can ' t be dissected. To subject the Academy to such scrutiny would be impossible and unfair. It ' s the Academy ' s awards, not ours.
    [Show full text]
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • African American Contributions to the American Film Industry”
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1996 Volume III: Race and Representation in American Cinema In Their Own Words: African American Contributions to the American Film Industry” Curriculum Unit 96.03.14 by Gerene Freeman I believe it is safe to say that a large majority of my high school students are avid movie-goers. Most of them, if not all have a VCR in their homes. Amazingly many students are quite sagacious concerning matters pertaining to the blaxploitation films generated in the Sixties. Few, however, realize that African American involvement in film making had its inception as early as 1913. Through this curriculum unit it is my intention to provide high school students, at Cooperative High School for the Arts and Humanities, with an overview of two African American filmmakers and their contributions to film. Oscar Micheaux will be utilized as an example of African American contributions made to the silent era by African American pioneers in the film industry. Matty Rich will be used as an example of contemporary contributions. I have decided to look at Matty Rich as opposed to Spike Lee, John Singleton and/or Julie Dash for very specific reasons. First because he was so close to the age (18) many of my high school students are now when he made his first movie Straight Out of Brooklyn. Secondly, he emerged from an environment similar to that in which many of my student find themselves. Lastly, I believe he could represent for my students a reason to believe it is very possible for them to accomplish the same thing.
    [Show full text]
  • Fort Lee Booklet
    New Jersey and the Early Motion Picture Industry by Richard Koszarski, Fort Lee Film Commission The American motion picture industry was born and raised in New Jersey. Within a generation this powerful new medium passed from the laboratories of Thomas Edison to the one-reel masterworks of D.W. Griffith to the high-tech studio town of Fort Lee with rows of corporate film factories scattered along the local trolley lines. Although a new factory town was eventually established on the West Coast, most of the American cinema’s real pioneers first paid their dues on the stages (and streets) of New Jersey. On February 25, 1888, the Photographer Eadweard Muybridge lectured on the art of motion photography at New Jersey’s Orange Music Hall. He demonstrated his Zoopraxiscope, a simple projector designed to reanimate the high-speed still photographs of human and animal subjects that had occupied him for over a decade. Two days later he visited Thomas Alva Edison at his laboratory in West Orange, and the two men discussed the possibilities of linking the Zoopraxiscope with Edison’s phonograph. Edison decided to proceed on his own and assigned direction of the project to his staff photographer, William Kennedy Laurie Dickson. In 1891 Dickson became the first man to record sequential photographic images on a strip of transparent celluloid film. Two years later, in anticipation of commercialization of the new process, he designed and built the first photographic studio intended for the production of motion pictures, essentially a tar paper shack mounted on a revolving turntable (to allow his subjects to face the direct light of the sun).
    [Show full text]
  • The Gish Girls Talk About Each Other to ADA PATTERSON (Photoplay Feb – Jun 1921)
    The Gish Girls Talk About Each Other To ADA PATTERSON (Photoplay Feb – Jun 1921) All we have in common is our mother," said one of the most unlike sisters in the world. Lillian Gish spoke. The young tragedienne whom John Barrymore has called "The American Bernhardt" sat staidly in a chair according to the accepted relation of chairs and sitters. Dorothy Gish, the comedienne, perched on hers. It must be chronicled of Mrs. James Rennie that she sits on her feet. She is more comfortable so and neither her sad-eyed sister, nor her mother, nor her bridegroom ever reproves her for the acquired in childhood habit. It's a part of her and none of the family wants to lose any part of Dorothy. The sisters had promised to talk about each other to me. They had agreed to tell the truth, frankly, as they saw it. The time was a recent Saturday afternoon. The place was the apartment occupied by Mrs. Gish and Lillian. Hard by was that of the"7ecently made Mrs. James Rennie with her handsome young lord. Yes, at the Hotel Savoy, although the address of the pair is 132 East Nineteenth Street. "We give teas at the Nineteenth Street address but live here," said the bride. "It will be so until we have thoroughly furnished the apartment." "What do you think of your sister's marriage?" Lillian Gish of the wide, blue, thoughtful eyes, that register such depths of feeling on the silver sheet, adjusted herself and the skirt of her girlish blue serge suit on the gilt backed chair.
    [Show full text]
  • Film Essay for "Broken Blossoms"
    Broken Blossoms By Ed Gonzalez No dialectic approach to film form would be complete without discussing the innovations cultivated by D.W. Griffith and Sergei Eisenstein in the early 1900s. Just as Eisenstein’s radi- cal principles of montage would forev- er inform the way films were cut and consumed, Griffith’s equally essential narrative and aesthetic innovations were becoming overshadowed by the controversy surrounding his epic Civil War reconstruction epic “The Birth of a Nation.” Coincidentally, “Intolerance” would irrevocably inspire budding Soviet filmmakers like Eisenstein, Pudovkin, and Kuleshov when the film was shown in the USSR in 1919, and if Griffith’s legacy remains tarnished to this day, it’s impossible to fathom the state of modern cinema without the influence of his artistic advances, such as his refinement of such techniques as the iris shot, the mask, or the sim- ple flashback. Between 1908 and 1913, Griffith made over 450 films for the New York- Richard Barthelmess watches a sleeping Lillian Gish with adoration. based Biograph Company, perhaps none Courtesy Media History Digital Library . more memorable than the 17-minute one -reel “The Lonedale Operator,” about a substitute telegraph operator (played by Blanch love with a Chinese man, is often regarded and dis- Sweet) who must fend off a group of bandits. The missed as Griffith’s apology for his celebration of the film’s technical innovations were then unheard of, Klu Klux Klan in “The Birth of a Nation.” Because and upon its release the film was considered by “Broken Blossoms” is so earnest a portraiture of an some to be the most thrilling picture ever produced.
    [Show full text]
  • He Museum of Modern Art 1 West 53Rd Street, New York Telephone: Circle 5-8900 for Immediate Release
    401109 - 68 HE MUSEUM OF MODERN ART 1 WEST 53RD STREET, NEW YORK TELEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE MUSEUM OF MODERN ART OPENS LARGE EXHIBITION OF WORK OF D. W. GRIFFITH, FILM MASTER It is difficult to blueprint genius, but in its exhibition documenting the life and work of David Wark Griffith the Museum cf Modern Art, 11 West 53 Street, will attempt to show the progressive steps through which this American film pioneer between 1909 and 1919 brought to the motion picture the greatest contribution made by any. single individual. In that important decade he taught the movies to become an original and powerful instrument of expression in their own right. The Griffith exhibition.will open to xhe public Wednesday, November 13, simultaneously with an exhibition of the work of another American, the two combined under the title Two Great Ameri­ cans : Frank Lloyd Wright, American Architect and D. W. Griffith, American Film Master. Although at first glance there may seem to be no connection between them, actually a curious parallel exists. America's greatest film director and America's greatest architect, the one in the second decade of this century, the other roughly from 1905 to 1914, had an immense influence on European motion pictures and architecture. After the first World War this influ­ ence was felt in the country of its origin in the guise of new European trends, even though European architects and motion picture directors openly acknowledged their debt to Wright and Griffith. The Griffith exhibition was assembled by Iris Barry, Curator of the Museum's Film Library, and installed by her and Allen Porter, Cir­ culation Director.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2015 A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the African American Studies Commons, African History Commons, American Film Studies Commons, and the American Literature Commons Recommended Citation Hughes, Airic, "A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator" (2015). Theses and Dissertations. 1317. http://scholarworks.uark.edu/etd/1317 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Airic Hughes University of Arkansas Bachelor of Arts in History and African and African American Studies, 2011 July 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________ Dr. Calvin White Thesis Director __________________ __________________ Dr. Pearl Ford Dowe Dr. James Gigantino Committee Member Committee Member Abstract: Oscar Micheaux was a luminary who served as an agent of racial uplift, with a unique message to share with the world on behalf of the culturally marginalized African Americans. He produced projects that conveyed the complexity of the true black experience with passion and creative courage. His films empowered black audiences and challenged conventional stereotypes of black culture and potential.
    [Show full text]
  • SHIRLEY MACLAINE to RECEIVE 40Th AFI LIFE ACHIEVEMENT AWARD
    SHIRLEY MACLAINE TO RECEIVE 40th AFI LIFE ACHIEVEMENT AWARD America’s Highest Honor for a Career in Film to be Presented June 7, 2012 LOS ANGELES, CA, October 9, 2011 – Sir Howard Stringer, Chair of the American Film Institute’s Board of Trustees, announced today the Board’s decision to honor Shirley MacLaine with the 40th AFI Life Achievement Award, the highest honor for a career in film. The award will be presented to MacLaine at a gala tribute on Thursday, June 7, 2012 in Los Angeles, CA. TV Land will broadcast the 40th AFI Life Achievement Award tribute on TV Land later in June 2012. The event will celebrate MacLaine’s extraordinary life and all her endeavors – movies, television, Broadway, author and beyond. "Shirley MacLaine is a powerhouse of personality that has illuminated screens large and small across six decades," said Stringer. "From ingénue to screen legend, Shirley has entertained a global audience through song, dance, laughter and tears, and her career as writer, director and producer is even further evidence of her passion for the art form and her seemingly boundless talents. There is only one Shirley MacLaine, and it is AFI’s honor to present her with its 40th Life Achievement Award." Last year’s AFI Tribute brought together icons of the film community to honor Morgan Freeman. Sidney Poitier opened the tribute, and Clint Eastwood presented the award at evening’s end. Also participating were Casey Affleck, Dan Aykroyd, Matthew Broderick, Don Cheadle, Bill Cosby, David Fincher, Cuba Gooding, Jr., Samuel L. Jackson, Ashley Judd, Matthew McConaughey, Helen Mirren, Rita Moreno, Tim Robbins, Chris Rock, Hilary Swank, Forest Whitaker, Betty White, Renée Zellweger and surprise musical guest Garth Brooks.
    [Show full text]