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Schwarzsehen 2003
Repositorium für die Medienwissenschaft Oliver Demny; Stefan Neubacher SchwarzSehen 2003 https://doi.org/10.25969/mediarep/14402 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Demny, Oliver; Neubacher, Stefan: SchwarzSehen. In: Burkhard Röwekamp, Astrid Pohl, Matthias Steinle u.a. (Hg.): Medien / Interferenzen. Marburg: Schüren 2003 (Film- und Fernsehwissenschaftliches Kolloquium 16), S. 38– 50. DOI: https://doi.org/10.25969/mediarep/14402. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Our Love Affair with Movies
OUR LOVE AFFAIR WITH MOVIES A movie producer and Class of ’68 alumnus recalls the cinematic passions of his senior year—and offers some advice on rekindling the romance for today’s audiences. By Robert Cort crush on movies began on a Around the World was a grand spectacle Louis Jourdan as Gaston realizing how damp November night in 1956. that ultimately claimed the Academy much he loved Gigi and pursuing her Dressed in my first suit—itchy Award for Best Picture. Beyond its exotic through Paris singing, “Gigi, what mir- MY and gray—I sat in the backseat locales, it was my first experience of char- acle has made you the way you are?” of our Oldsmobile as my parents crossed acters attempting the impossible. When Before that scene, what I’d observed the Brooklyn Bridge into Manhattan. At David Niven as Phineas Fogg realized about men and women in love was my Mama Leone’s I tasted Parmesan cheese that crossing the International Date Line parents’ marriage, and that didn’t seem for the first time. Then we walked a few had returned him to London on Day 80, something to pine for. blocks to the only theater in the world the communal exuberance was thrilling. Three Best Pictures, three years in a playing the widescreen epic comedy- A year later my brother took me to an- row: the thrill of daring men in the wide, adventure, Around the World in 80 Days. other palace, the Capitol Theater, for The wide, Todd-AO world; the horrors that I was already a regular at Saturday Bridge on the River Kwai. -
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. -
BFI Poll Reveals UK's Favourite Black Star Performance
BFI POLL REVEALS UK’S FAVOURITE BLACK STAR PERFORMANCE: SIDNEY POITIER AS “MISTER TIBBS” In the Heat of the Night Angela Bassett’s courageous portrayal of Tina Turner in What’s Love Got to Do with It voted as top performance by over 100 industry experts London: (embargoed until 16:30 BST) Thursday 20 October, 2016 – To mark this week’s official launch of its BLACK STAR season, the BFI announced today that Sidney Poitier’s critically-acclaimed and seminal performance as Detective Virgil Tibbs in In the Heat of the Night (dir. Norman Jewison, 1967) has been voted the public’s Favourite Black Star Performance in a poll which included 100 performances spanning over 80 years in film and TV. Running alongside the public poll, a separate poll of over 100 industry experts voted for Angela Bassett’s Oscar®- nominated performance as Tina Turner in What’s Love Got to Do with It (dir. Brian Gibson, 1993). UK Public Poll Pam Grier followed in second place with her terrific turn as the titular character in Quentin Tarantino’s Jackie Brown – an homage to the 1970’s era of Blaxploitation films in America; Michael K. Williams was number three with his unforgettable portrayal of the legendary Omar Little, the openly gay, notorious stick-up man with a strict moral code feared by drug dealers across the city of Baltimore, in the socially and politically charged hit television series The Wire. British actor Chiwetel Ejiofor followed in fourth with his visceral portrayal of Solomon Northup, his break-out performance in Steve McQueen’s ground-breaking, Oscar®-winning true story, 12 Years A Slave; and Morgan Freeman rounded out the top five with his acclaimed, quiet and layered performance in Frank Darabont’s Oscar®-nominated cult classic, The Shawshank Redemption. -
News from Pitt
University of Pittsburgh: News From Pitt Volume 37 Number 12 February 17, 2005 CALENDAR Thursday 17 Medical Grand Rounds “Diabetic Neuropathy,” Bruce Nicholson; west wing aud., Shadyside, 8 am Latin American Studies Social & Public Policy Conference Dining Rm. B WPU, 8:30 am-3:25 pm; keynote address: “Challenges to Democracy in Latin America,” Mitchell Seligson, Vanderbilt; 3:40 pm TIAA-CREF One-on-One Counseling Sessions 100 Craig, 8:30 am-4:30 pm (appointment: 877/209-3136; also Feb. 18, 22, 23 & March 3) Asian Studies Lecture “Viewing Emotively: Memories of Local Dwellings in New Chinese Cinema,” Xinmin Liu, East Asian; 4130 Posvar, noon Immunology Seminar “Toll/IL-1 Receptor Signaling: Trafficking in TRAF-To Raft or Dive, That Is the Question!” Philip Auron, molecular genetics & biochemistry; lecture rm. 5 Scaife, noon (8-7050) OIS Intercultural Lunch Dining Rm. B WPU, noon (4-2100; also Feb. 24 & March 3) PA Black Conference on Higher Education Founders Luncheon Pgh. Hilton Hotel, noon-2 pm (4-3362) Renal Grand Rounds “The EQUAL Study: Assessing Processes & Outcomes for Esrd Quality of Care,” Neil Powe; F1145 Presby, noon Ctr. for Bioethics & Health Law Grand Rounds “White-Washing Health Disparities: Myths, Lies & Misconceptions,” Annette Dula, U of CO; 2nd fl. aud. WPIC, noon (8-1305) PA Black Conference on Higher Education Scholarship Luncheon Pgh. Hilton Hotel, 12:15-2 pm (4-3362) Biostatistics Seminar Debashis Ghosh, U of MI; A115 Crabtree, 3:30 pm Bioengineering/McGowan Inst. Seminar “Challenges in Therapy for Congestive Heart Failure,” Robert Kormos; lecture rm. 6 Scaife, 4 pm http://www.umc.pitt.edu:591/u/FMPro?-DB=ustory&-Format=d.html&-lay=a&storyid=2421&-Find (1 of 8)2/23/2005 5:13:05 PM University of Pittsburgh: News From Pitt Chemistry Lecture “Simple Models for Biological Processes & Material Properties,” Rigoberto Hernandez, GA Inst. -
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. -
Singapore (Virgil Tibbs) Online
Pvju5 [Mobile pdf] Singapore (Virgil Tibbs) Online [Pvju5.ebook] Singapore (Virgil Tibbs) Pdf Free John Ball DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #3648814 in Books 2015-10-06Formats: Audiobook, MP3 Audio, UnabridgedOriginal language:EnglishPDF # 1 6.75 x .50 x 5.25l, Running time: 6 HoursBinding: MP3 CD | File size: 15.Mb John Ball : Singapore (Virgil Tibbs) before purchasing it in order to gage whether or not it would be worth my time, and all praised Singapore (Virgil Tibbs): 0 of 0 people found the following review helpful. Tibbs to the rescueBy ex-gruntJohn Ball did an excellent job in any book he wrote. This is the last of the Virgil Tibbs series of books that started with "In the Heat of the Night." Without spoiling the plot, At the request of the US government, Tibbs goes to Singapore to assist in a politically sensitive murder investigation. You'll have to read the book for the rest.0 of 0 people found the following review helpful. Another great Virgil Tibbs novel - once I have read the ...By Iiro HyrskyAnother great Virgil Tibbs novel - once I have read the first one, I just had to read the rest! When Madame Motamboru, widow of the assassinated President of Bakara, is framed for murder in Singapore, she requests that her old friend Virgil Tibbs take part in the investigation. Because of U.S. interests in the area, Tibbs is cleared for passage.Upon arrival, Tibbs finds that the police there are convinced of Madame Motamboru's guilt. -
Double Burden: the Black Experience in Pittsburgh
Double Burden: The Black Experience in Pittsburgh Laurence Glasco History Department University of Pittsburgh Scholarly studies of black Pittsburgh are numerous but uneven in their coverage. In the 1930s the Works Progress Administration (WPA) assembled a rich body of material on the social life, politics, and even folklore of the city's blacks. But the projected general history was never completed, and its unedited pages until recently lay forgotten in the state archives. The gap left by the lack of a general history, moreover, is not filled by specialized studies because these are uneven in their coverage. The nineteenth century, for example, has been especially neglected: the scholarly literature on that period consists of one article, one dissertation, and one undergraduate thesis, all of which focus on the antislavery movement of the Civil War era. The twentieth century, in contrast, has received considerable attention. The period between World War I and World War II has been especially well covered: over one hundred specialized studies--including fifty-six master's theses and dissertations--describe the adjustment problems of black migrants and the emergence of the Hill district as a predominantly black ghetto. The years following World War II also have interested scholars: more than fifty studies--primarily doctoral dissertations--examine the racial dimensions of poverty, segregation, and governmental efforts to alleviate those conditions. Finally, black Pittsburgh from approximately 1930 to 1980 has been visually well documented in the collection of Teenie Harris, a photographer for the Pittsburgh Courier whose 50,000 to 100,000 photographs rival those of New York's Vander Zee collection in portraying the texture of black urban life. -
Stockton Performing Arts Center Celebrates Black History Month with L.A
Stockton Performing Arts Center Celebrates Black History Month with L.A. Theatre Works’ ‘In the Heat of the Night’ For Immediate Release Tuesday, January 06, 2015 Contact: Suzé DiPietro Stockton PAC Galloway Township, NJ 08205 [email protected] (609) 652-4927 Galloway Township, NJ - The Stockton Performing Arts Center and L.A. Theatre Works celebrate Black History Month by presenting “In the Heat of the Night” on Friday, Feb. 6 at 7:30 p.m. Tickets are $32 and may be ordered online at Stockton.edu/pac or by calling the Box Office at (609) 652-9000. The Box Office is open Monday through Friday from 9 a.m. to 3 p.m. and 90 minutes before the performance. For group sales, call (609) 652-4786. John Ball’s 1965 novel, In the Heat of the Night, takes place in Alabama as the whole country grappled with integration and an evolving acceptance of the Civil Rights movement. This was the era of sit-ins and tear gas, of marches and assassinations. This was the era of Martin Luther King Jr., the Kennedys, and LBJ and an America finally, deliberately, moving toward a future of equality regardless of skin color. Nearly 50 years later, have we arrived? Perhaps not. Just as Ball’s white, southern police Chief Bill Gillespie’s personal prejudices are tested by working with African-American detective Virgil Tibbs, America continues to confront prejudice, stereotyping and fear. Playwright and screenwriter Matt Pelfrey sets his riveting stage adaptation of this classic American thriller in the environment of gradual change, rebellion, anger, frustration, and stubborn clinging to old ways of life. -
President's Report to the Board
President’s Report to the Board Deborah L. Acklin April 8, 2021 Introduction Spring is finally here (for the most part). We are seeing light at the end of the tunnel with the pandemic, and people are feeling more confident and safe. We deserve good news and optimism after the “Year of COVID.” We’re looking back and reassessing how much life has changed from “before COVID” to life that returns to “normal,” whatever that may be. I hope we emerge stronger and better prepared, that we appreciate loved ones more, and that we can improve society based on our experiences of the last year. I am so proud to say that WQED did not miss a beat. We didn’t know what would happen when we started remote operations, but it’s gratifying to know that we had a plan that worked. We expanded our educational options across the board, we solidified a statewide cooperative of all public media stations, and we entered into an agreement with the Pennsylvania Department of Education for the datacasting project. We produced broadcast and online content that helped people get through the pandemic. And WQED-FM remained an oasis for people working from home, taking care of children or elderly relatives, and otherwise having their lives upended. I am proud of every member of this staff, all of who stepped up to keep WQED going through very tough times. Thank you to the entire Board of Directors and CAB, who guided us through the year. Senate Passes Covid Relief for Public Media The Senate approved its COVID-19 relief package on March 6. -
In the Heat of the Night
In the Heat of the Night (A) USA 1967 22 January 2018 DIRECTOR: Norman Jewison Running time: 108 minutes LEADING PLAYERS: Sidney Poitier (Virgil Tibbs), Rod Steiger (Gillespie), Warren Oates (Sam Wood), Lee Grant (Mrs Colbert), James Patterson (Mr Purdy), Scott Wilson (Harvey Oberst). SCRIPT: Stirling Silliphant based on a novel by John Ball. PHOTOGRAPHY: Haskell Wexler. EDITING: Hal Ashby. MUSIC: Quincy Jones. 1967 was in a way a watershed year in Hollywood, investigation, him being a top homicide detective reflecting political unrest in the US as a whole. ‘n’ all, and we are in the grip of a conspiratorial Peter Biskind may have pointed to 1969 and Easy murder mystery with racial trimmings. Rider as the cusp moment for the new wave of film- makers who made films for a younger audience, Just over thirty, director Jewison had come up instead of for those who fought in the war, films through television, then directed a string of sex that cost less money to make and had a fresh crop comedies for Ross Hunter at Universal, before of actors on which to draw. However, 1967 saw coming out with a cracking Steve McQueen picture the release of The Graduate and Bonnie and Clyde, called The Cincinnati Kid (1965). There he had both of which dealt more or less obliquely with the met editor and director to be, Hal Ashby, who drop-out culture and a rejection of conventional edited his next three films, the second of which was mores. In addition, Hombre, Cool Hand Luke and ITHOTN. However, the relationship was closer Point Blank have a similar sense of rebellion than that, and Ashby more or less acted as Line running through them. -
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MoMA CELEBRATES THE 75th ANNIVERSARY OF THE NEW YORK FILM CRITICS CIRCLE BY INVITING MEMBERS TO SELECT FILM FOR 12-WEEK EXHIBIITON Critical Favorites: The New York Film Critics Circle at 75 July 3—September 25, 2009 The Roy and Niuta Titus Theaters & The Celeste Bartos Theater NEW YORK, June 19, 2009 —The Museum of Modern Art celebrates The New York Film Critics Circle’s (NYFCC) 75th anniversary with a 12-week series of award-winning films, from July 3 to September 25, 2009, in The Roy and Niuta Titus Theaters. As the nation‘s oldest and most prestigious association of film critics, the NYFCC honors excellence in cinema worldwide, giving annual awards to the ―best‖ films in various categories that have all opened in New York. To mark the group‘s milestone anniversary, each member of the organization was asked to choose one notable film from MoMA‘s collection that was a recipient of a NYFCC award to be part of the exhibition. Some screenings will be introduced by the contributing film critics. Critical Favorites: The New York Film Critics Circle at 75 is organized by Laurence Kardish, Senior Curator, Department of Film, in collaboration with The New York Film Critics Circle and 2009 Chairman Armond White. High-resolution images are available at www.moma.org/press. No. 58 Press Contacts: Emily Lowe, Rubenstein, (212) 843-8011, [email protected] Tessa Kelley, Rubenstein, (212) 843-9355, [email protected] Margaret Doyle, MoMA, (212) 408-6400, [email protected] Film Admission: $10 adults; $8 seniors, 65 years and over with I.D.