The Black Perspective April 1991
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Celebrity and Race in Obama's America. London
Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies. -
Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr. -
021215Front FREE PRESS FRONT.Qxd
How to Voices of the Does Race Ancestors: Handle Quotes from Play a Role Great African a Mean Americans Leaders Child in Tipping? that are Still Page 2 Relevant Today Page 7 Page 4 Win $100 PRST STD 50c U.S. Postage PAID Jacksonville, FL in Our Permit No. 662 “Firsts” RETURN SERVICE REQUESTED History Contest Page 13 50 Cents Dartmouth College Introduces Volume 28 No. 14 Jacksonville, Florida February 12-17, 2015 #BlackLivesMatter Course Police Killings Underscore #BlackLivesMatter is what many bill as the name of the current move- ment toward equal rights. The hashtag, which drove information about protests happening in cities around the world, was started by Opal the Need for Reform Tometi, Patrisse Cullors and Alicia Garza in 2012, in response to the By Freddie Allen fatally shooting Brown. killing of Trayvon Martin. NNPA Correspondent Targeting low-level lawbreakers Now the movement has found its way into academic spaces. Blacks and Latinos are incarcer- epitomizes “broken windows” pop- Dartmouth College is introducing the #BlackLivesMatter course on its ated at disproportionately higher ularized during William Bratton’s campus this spring semester that will take a look at present-day race, rates in part because police target first tenure as commissioner of the structural inequality and violence issues, and examine the topics in a them for minor crimes, according a New York Police Department under historical context. report titled, “Black Lives Matter: then-Mayor Rudy Giuliani. Mayor “10 Weeks, 10 Professors: #BlackLivesMatter” will feature lectures Eliminating Racial Inequity in the Bill de Blasio reappointed Bratton from about 15 professors at Dartmouth College across disciplines, Criminal Justice System” by the to that position and he remains including anthropology, history, women's and gender studies, English Sentencing Project, a national, non- “committed to this style of order- and others. -
CFP: Gender in the Golden 80S (Film & History Conference 6/1/14; 10/29/14)
H-Film CFP: Gender in the Golden 80s (Film & History conference 6/1/14; 10/29/14) Discussion published by Laura M. D'Amore on Monday, April 14, 2014 The 1980s is its own “golden age” of film when considering the idea/ls of gender contained within its borders. The era indulged representations of high-testosterone masculinity (such as Arnold Schwarzenegger, Sylvester Stallone, and Bruce Willis) and vulnerable femininity (such as Molly Ringwald and Ally Sheedy). And, while films of the decade were also capable of imagining men who were strong and sensitive (like Eric Stoltz in Some Kind of Wonderful, Rob Lowe in About Last Night, and Judd Nelson in The Breakfast Club), there were far fewer roles for women that broke from stereotypically feminized characterizations (like Linda Hamilton inTerminator , Lea Thompson in Back to the Future, and Demi Moore in St. Elmo’s Fire). What can an examination of gender roles in the films of the 1980s tell us about a decade that was fraught with a crisis of identity, simultaneously proud and insecure The( Outsiders, Dirty Dancing, Less Than Zero), strong and vulnerable (War Games, Red Dawn) real and imagined (Robocop, Predator)? How might we interrogate gender in American films of the 1980s, in order to better understand the ironies and anxieties contained within them? Possible paper topics include, but are not limited to the following topics as embodied in 1980s films: Representations of masculinity and femininity in film and television Character/izations that disrupt gender norms The relationship between gender and culture, i.e. politics, economy, the Cold War, post- industrialization Gendered tensions between characters, actors, filmmakers, etc. -
This Is a Time for Hope and Change
Indiana Law Journal Volume 87 Issue 1 Article 23 Winter 2012 This is a Time for Hope and Change Kevin D. Brown Indiana University Maurer School of Law, [email protected] Follow this and additional works at: https://www.repository.law.indiana.edu/ilj Part of the Civil Rights and Discrimination Commons, and the Labor and Employment Law Commons Recommended Citation Brown, Kevin D. (2012) "This is a Time for Hope and Change," Indiana Law Journal: Vol. 87 : Iss. 1 , Article 23. Available at: https://www.repository.law.indiana.edu/ilj/vol87/iss1/23 This Symposium is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Indiana Law Journal by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. This Is a Time for Hope and Change * KEVIN BROWN I have agreed to comment on the paper delivered by Professors Angela Onwuachi-Willig and Mario Barnes1 at a conference titled Labor and Employment Law Under the Obama Administration: A Time for Hope and Change? In his victory speech on the night of November 4, 2008, Barack Obama, the first black (African American, biracial?) President reaffirmed the themes of “hope and change” that were central to his campaign. He stated that his election was the answer “that led those who have been told for so long by so many to be cynical, and fearful, and doubtful of what we can achieve, to put their hands on the arc of history and bend it once more toward the hope of a better day.”2 He went on to point out that “[i]ts [sic] been a long time coming, but tonight, because of what we did on this day, in this election, at this defining moment, change has come to America.”3 So with his reelection just a year away, now is an appropriate time to reflect on whether this truly is a time for hope and change. -
275. – Part One
275. – PART ONE 275. Clifford (1994) Okay, here’s the deal: I don’t know you, you don’t know me, but if you are anywhere near a television right now I need you to stop whatever it is that you’re doing and go watch “Clifford” on HBO Max. This is another film that has a 10% score on Rotten Tomatoes which just leads me to believe that all of the critics who were popular in the nineties didn’t have a single shred of humor in any of their non-existent funny bones. I loved this movie when I was seven, and I love it even more when I’m thirty-three. It’s genius. Martin Short (who at the time was forty-four) plays a ten-year-old hyperactive nightmare child from hell. I mean it, this kid might actually be the devil. He is straight up evil, conniving, manipulative and all-told probably causes no less than ten million dollars-worth of property damage. And, again, the plot is so simple – he just wants to go to Dinosaur World. There are so many comedy films with such complicated plots and motivations for their characters, but the simplistic genius of “Clifford” is just this – all this kid wants on the entire planet is to go to Dinosaur World. That’s it. The movie starts with him and his parents on an plane to Hawaii for a business trip, and Clifford knows that Dinosaur Land is in Los Angeles, therefore he causes so much of a ruckus that the plane has to make an emergency landing. -
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 -
6769 Shary & Smith.Indd
ReFocus: The Films of John Hughes 66769_Shary769_Shary & SSmith.inddmith.indd i 110/03/210/03/21 111:501:50 AAMM ReFocus: The American Directors Series Series Editors: Robert Singer, Frances Smith, and Gary D. Rhodes Editorial Board: Kelly Basilio, Donna Campbell, Claire Perkins, Christopher Sharrett, and Yannis Tzioumakis ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of neglected American directors, from the once-famous to the ignored, in direct relationship to American culture—its myths, values, and historical precepts. The series ignores no director who created a historical space—either in or out of the studio system—beginning from the origins of American cinema and up to the present. These directors produced film titles that appear in university film history and genre courses across international boundaries, and their work is often seen on television or available to download or purchase, but each suffers from a form of “canon envy”; directors such as these, among other important figures in the general history of American cinema, are underrepresent ed in the critical dialogue, yet each has created American narratives, works of film art, that warrant attention. ReFocus brings these American film directors to a new audience of scholars and general readers of both American and Film Studies. Titles in the series include: ReFocus: The Films of Preston Sturges Edited by Jeff Jaeckle and Sarah Kozloff ReFocus: The Films of Delmer Daves Edited by Matthew Carter and Andrew Nelson ReFocus: The Films of Amy Heckerling Edited by Frances Smith and Timothy Shary ReFocus: The Films of Budd Boetticher Edited by Gary D. -
CFP: Gender in the Golden 80S (Film & History Conference 6
H-Amstdy CFP: Gender in the Golden 80s (Film & History conference 6/1/14; 10/29/14) Discussion published by Laura M. D'Amore on Monday, April 14, 2014 The 1980s is its own “golden age” of film when considering the idea/ls of gender contained within its borders. The era indulged representations of high-testosterone masculinity (such as Arnold Schwarzenegger, Sylvester Stallone, and Bruce Willis) and vulnerable femininity (such as Molly Ringwald and Ally Sheedy). And, while films of the decade were also capable of imagining men who were strong and sensitive (like Eric Stoltz in Some Kind of Wonderful, Rob Lowe in About Last Night, and Judd Nelson in The Breakfast Club), there were far fewer roles for women that broke from stereotypically feminized characterizations (like Linda Hamilton inTerminator , Lea Thompson in Back to the Future, and Demi Moore in St. Elmo’s Fire). What can an examination of gender roles in the films of the 1980s tell us about a decade that was fraught with a crisis of identity, simultaneously proud and insecure The( Outsiders, Dirty Dancing, Less Than Zero), strong and vulnerable (War Games, Red Dawn) real and imagined (Robocop, Predator)? How might we interrogate gender in American films of the 1980s, in order to better understand the ironies and anxieties contained within them? Possible paper topics include, but are not limited to the following topics as embodied in 1980s films: Representations of masculinity and femininity in film and television Character/izations that disrupt gender norms The relationship between gender and culture, i.e. politics, economy, the Cold War, post- industrialization Gendered tensions between characters, actors, filmmakers, etc. -
Mario Van Peebles's <I>Panther</I>
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 8-2007 Mario Van Peebles’s Panther and Popular Memories of the Black Panther Party Kristen Hoerl Auburn University, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Hoerl, Kristen, "Mario Van Peebles’s Panther and Popular Memories of the Black Panther Party" (2007). Papers in Communication Studies. 196. http://digitalcommons.unl.edu/commstudiespapers/196 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Critical Studies in Media Communication 24:3 (August 2007), pp. 206–227; doi: 10.1080/07393180701520900 Copyright © 2007 National Communication Association; published by Routledge/Taylor & Francis. Used by permission. Published online August 15, 2007. Mario Van Peebles’s Panther and Popular Memories of the Black Panther Party Kristen Hoerl Department of Communication and Journalism, Auburn University, Auburn, Alabama, USA Corresponding author – Kristen Hoerl, email [email protected] Abstract The 1995 movie Panther depicted the Black Panther Party for Self-Defense as a vibrant but ultimately doomed social movement for racial and economic justice during the late 1960s. Panther’s narrative indicted the white-operated police for perpetuating violence against African Americans and for un- dermining movements for black empowerment. -
Eyes on the Bay: Will It Freeze? Income Tax Hits Money Is Earned and Again Wl Ings Produce Interest
TRAVE^ RCCord Two sections, 28 pages Saturday, February 20, 1993 Natio tax 'r Clinton says it HYDE PARK, N.Y. President Clinton said the United States may consider a national sal- radical change in the government raises mor too long into the future he said he meant in 10 so. "I didn't mean to do; balloon or anything Clinton said as thi threatened to steal i from his campaign to < support for his new c program. The sales-tax idea li raised many times in 1 but dropped as too ur Clinton said any such t; have to exempt food < sibly clothing and woulc be designed not to hurl i White House aidns sales lax was looked at carded during prepar the plan Clinton an Wednesday "It is no consideration at this tii Reeord-EBgKGreg Jotinstone president said Freeze frame: A view trom Wayne Hill shows open water and frozen areas on West Grand Traverse Bay. Proponents say a sain.': lax, or value-adc would encourage savi cause it is levied onl } money is spent. In cont All eyes on the bay: Will it freeze? income tax hits money is earned and again wl ings produce interest. By TOM CARR 1 The biggest criticism c A change of pace — sales tax is that it is re Record-Eagle staff writer Bay freeze facts low-income people The Traverse City Area Chamber spend virtually evcryth TRAVERSE CITY - West Grand Traverse Bay of Commerce's records on the U.P. state's warm spot appeared on its way to being officially frozen freezing of West Grand Traverse make. -
Year Name State 2017 Kára Mccullough District of Columbia
Year Name State 2017 Kára McCullough District of Columbia 2016 Deshauna Barber District of Columbia 2015 Olilvia Jordan Oklahoma 2014 Nina Sanchez Nevada 2013 Erin Brady Connecticut 2012 Olivia Culpo * Cranston 2012 Nana Meriwether Maryland 2011 Alyssa Campanella California 2010 Rima Fakih Michigan 2009 Kristen Dalton North Carolina 2008 Crystle Stewart Texas 2007 Rachel Smith Tennessee 2006 Tara Conner Kentucky 2005 Chelsea Cooley North Carolina 2004 Shandi Finnessey Missouri 2003 Susie Castillo Massachusetts 2002 Shauntay Hinton District of Columbia 2001 Kandace Krueger Texas 2000 Lynnette Cole Tennessee 1999 Kimberly Ann Pressler New York 1998 Shawnae Jebbia Massachusetts 1997 Brook Lee * Hawaii 1997 Brandi Sherwood Idaho 1996 Ali Landry Louisiana 1995 Chelsi Smith * Texas 1995 Shanna Lynn Moakler New York 1994 Frances Louise “Lu” Parker South Carolina 1993 Kenya Moore Michigan 1992 Shannon Marketic California 1991 Kelli McCarty Kansas 1990 Carole Gist Michigan 1989 Gretchen Polhemus Texas 1988 Courtney Gibbs Texas 1987 Michelle Royer Texas 1986 Christy Fichtner Texas 1985 Laura Martinez-Herring Texas 1984 Mai Shanley New Mexico 1983 Julie Hayek California 1982 Terri Utley Arkansas 1981 Kim Seelbrede Ohio 1980 Shawn Weatherly * South Carolina 1980 Jineane Ford Arizona 1979 Mary Therese Friel New York 1978 Judi Anderson Hawaii 1977 Kimberly Tomes Texas 1976 Barbara Peterson Minnesota 1975 Summer Bartholomew California 1974 Karen Morrison Illinois 1973 Amanda Jones Illinois 1972 Tanya Wilson Hawaii 1971 Michele McDonald Pennsylvania