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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. -
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 -
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. -
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. -
Melvin Van Peebles Class of 1953
Distinguished Achievement Citation Melvin Van Peebles Class of 1953 Today, we recognize Melvin Van Peebles for his groundbreaking and prolific work in film, theatre, music and literature. After graduating from Ohio Wesleyan in 1953 with a degree in English, Mel served as a navigator and bombardier in the U.S. Air Force Strategic Air Command. He soon found his calling to be an artist, and began an accomplished career that spanned the arts—and often redefined them. After making the short films “Sunlight” and “Three Pick-Up Men for Herrick” while living in San Francisco, Mel moved to Holland and then France, where he was a crime reporter and began writing novels. He made his debut as a stage writer, lyricist and composer with “Harlem Party.” Mel is best known for his work in feature films. He first adapted his French novel “The Story of a Three-Day Pass” into a film, which he also directed. Upon returning to the United States, he directed and scored “Watermelon Man,” a sharp-edged comedy about a white bigot who wakes up black one day. In 1971, Mel independently produced, directed, wrote, scored and starred in the controversial film “Sweet Sweetback’s Bassdasssss Song.” Opening to mixed reviews, the film has grossed over $15 million, and established Melvin Van Peebles as a pioneer among black filmmakers. In addition to directing or starring in a number of movies in the 1980s and 1990s, most recently he directed “Identity Crisis,” acted in “Posse,” produced, scripted and appeared in “Panther,” wrote and starred in the documentary “Classified X,” and wrote and directed the French film “A Bellyful.” His Broadway musicals include Tony-award-nominated “Ain’t Supposed to Die a Natural Death,” “Don’t Play Us Cheap,” and “Waltz of the Stork.” His ventures into the music industry include the albums “Br’er Soul” and “Ghetto Gothic.” A CD titled “The Melvin Van Peebles Collection” was released in 1999. -
Pugh-Sellers 1 Seeing Humans, Making Commodities: Slave Ship
Pugh-Sellers 1 Seeing Humans, Making Commodities: Slave Ship Rebellions on Film Senior Thesis Presented to The Faculty of the School of Arts and Sciences Brandeis University Undergraduate Program in African and African-American Studies and History Chad Williams, Adviser In partial fulfillment of the requirements for the degree of Bachelor of Arts By Lucia Pugh-Sellers April 2020 Committee members: Name: Chad Williams Signature:___________________________________ Name: Alice Kelikian Signature:___________________________________ Name: Faith Smith Signature:___________________________________ Pugh-Sellers 2 ACKNOWLEDGEMENTS I would like to thank my committee members, who have inspired and helped me enormously during my time at Brandeis. I am grateful to know Professors Faith Smith and Alice Kelikian, who each influenced me so much, and ultimately changed my life. Professor Chad Williams, my thesis advisor, was a model of patience, offering step-by-step guidance and sage advice. His dedication to teaching was evident from the first day I stepped into his class, when he showed himself willing to engage with an intimidated first-year student. I could not have finished this thesis without these profoundly important academic mentors. I also want to thank everyone else who helped me through this thesis process, particularly: Kavita, for being my thesis-writing buddy and commiserator; Yael, for her empathy; Allison, for advice and laughter; Tamar; my thesis cohort (Dannie, Victoria, and Jake). Finally, I would like to acknowledge my family, especially my parents and sisters, for their wholehearted support, which keeps me going. I recognize and wrestle with my positionality as white woman, and one who has largely benefited from the systems of racism I describe here. -
Overview of Exhibitions and Programs, June–July 2021
CALENDAR ADVISORY (JUNE–JULY 2021) MUSEUM OF THE MOVING IMAGE PRESENTS JUNETEENTH CELEBRATION, SETS FIRST LOOK FESTIVAL DATES, CONTINUES COMPLETE KUBRICK AND SEE IT BIG! SERIES, AND MORE Summer Media Camp registrations are open for in-person and virtual sessions for youth ages 8–14 in July and August Queens Drive-In continues through June with summer classics and free community screening series presented by the Queens Borough President’s office Astoria, New York, May 19, 2021 — Museum of the Moving Image, the nation’s only museum devoted to the art, history, technique, and technology of film, TV, and digital media, is currently presenting exhibitions and screenings at the Museum in Astoria; tours, workshops, and Virtual Cinema presentations online via movingimage.us; and screenings at the Queens Drive-In, in partnership with Rooftop Films and New York Hall of Science. Please see below for an overview of June and July programming. Additional programs will be announced as they are confirmed. For all visits to the Museum’s building in Astoria, please note that Covid-19 health and security measures continue to be in place. These include social distancing, mask requirements, physical barriers to minimize contact, and additional measures. While the Museum is closely monitoring the changes to CDC, State, and City guidelines, we kindly require all visitors to wear their masks while in the Museum, until further notice. Learn more about Museum protocols here. Summer Media Camp: Registration is open for children and teens ages 8–14 to participate in the Museum’s popular camps. In-person camps run July 12–August 20 with weeklong sessions devoted to animation, filmmaking, video game design, and puppetry for the screen. -
From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade Cienna Davis Freie Universitat, Berlin, Germany, [email protected]
Taboo: The Journal of Culture and Education Volume 16 | Issue 2 Article 4 September 2017 From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade Cienna Davis Freie Universitat, Berlin, Germany, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation Davis, C. (2018). From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade. Taboo: The Journal of Culture and Education, 16 (2). https://doi.org/10.31390/taboo.16.2.04 Taboo,Cienna Fall Davis 2017 7 From Colorism to Conjurings Tracing the Dust in Beyoncé’s Lemonade Cienna Davis Abstract Colorism creates relentless tension and pressure in the lives of Black women. Pop-star Beyoncé Gisele Knowles-Carter is an interesting case in the discussion of colorism because her career has expressed a rich intimacy to Southern Black cul- ture and female empowerment while also playing into tropes of the mulatta “fancy girl,” whose relative proximity to whiteness adheres social value within mainstream culture. Finding aesthetic and thematic parallels between Beyoncé’s recent project Lemonade (2016) and Julie Dash’s cult-classic film Daughters of the Dust (1991) I draw a critical connection between Yellow Mary Peazant and Beyoncé, the prodigal child and the licentious “post-racial,” pop-star to argue that while Lemonade may not present the same critique of exclusionary Black womanhood present within Daughters of the Dust, reactions to the Beyoncé’s visual album and the “Formation” music video inadvertently demonstrate the longevity of harmful colorist prejudices and the disparaging of Black female sexual and creative agency within the Black community. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
Gullah Womanism in the Creative Works of African American Women
i OOMAN’S WUK: GULLAH WOMANISM IN THE CREATIVE WORKS OF AFRICAN AMERICAN WOMEN by JUDITH LYNN STRATHEARN B. S. Rochester Institute of Technology, 1993 B.A., Metropolitan State College of Denver, 2004 M.A., University of Colorado at Boulder, 2008 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of English 2017 ii This dissertation entitled: Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women written by Judith Lynn Strathearn has been approved for the Department of English Adam F. Bradley (Committee Chair) Michael J. Preston (Committee Member) Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii ABSTRACT Strathearn, Judith Lynn (Ph.D., English) Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women Dissertation directed by Associate Professor Adam F. Bradley “Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women” investigates Gullah history and culture as a usable past for modern African American female artists. This project explores the history of rice production and the vital but under-discussed role of women that led to the African retentions still at work on the Sea Islands of South Carolina and Georgia. By exploring the often disavowed female roles, this dissertation argues that once acknowledged, the Gullah woman’s role as ‘keepa a da kulca’ formulates a Gullah womanism or a form of cultural and community activism that is found in the daily lives of the female descendants of Africans living on the Sea Islands. -
Bamcinématek Presents Strange Victories: Black Soldiers and World War II, a Series Focused on African-Americans’ Experiences During the War, Nov 10–16
BAMcinématek presents Strange Victories: Black Soldiers and World War II, a series focused on African-Americans’ experiences during the war, Nov 10–16 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. October 10, 2017/Brooklyn, NY—From Friday, November 10 through Thursday, November 16, BAMcinématek presents Strange Victories: Black Soldiers and World War II. Inspired by the release of Dee Rees’ extraordinary new epic Mudbound (sneak peek screening at BAMcinématek Oct 24 with director Dee Rees in attendance), BAMcinématek presents a cross section of films that explore the unique experiences of black soldiers who, in racially-segregated units, fought the spread of fascism overseas only to face racism again on home soil. These groundbreaking classics, compelling documentaries, and revisionist action spectacles shine much-needed light on the experience of black soldiers and veterans as the United States continues to struggle today with its legacy of historical, systemic racism. The series begins with Spike Lee’s Miracle at St. Anna (2008—Nov 10), a necessary corrective that mobilizes familiar tropes of the traditional Hollywood World War II movie to present a powerful story of black infantrymen who fought for a country that saw them as second-class citizens. On a similarly thrilling scale is Anthony Hemingway’s Red Tails (2012—Nov 12) about the Tuskegee Airmen, a legendary African-American fighter pilot unit. Its all-star cast features David Oyelowo, Michael B. Jordan, and Cuba Gooding, Jr. Mark Robson’s Home of the Brave (1949—Nov 14) was among the first studio-era dramas to address the challenges faced by black soldiers, including PTSD, bigotry, and the embedded racism of everyday life.