Hollywood Be Thy Name: African American Religion in American Film, 1929–1949University of California Press, 8 ביוני 2007 - 355 עמודים From the earliest years of sound film in America, Hollywood studios and independent producers of "race films" for black audiences created stories featuring African American religious practices. In the first book to examine how the movies constructed images of African American religion, Judith Weisenfeld explores these cinematic representations and how they reflected and contributed to complicated discourses about race, the social and moral requirements of American citizenship, and the very nature of American identity. Drawing on such textual sources as studio production files, censorship records, and discussions and debates about religion and film in the black press, as well as providing close readings of films, this richly illustrated and meticulously researched book brings religious studies and film history together in innovative ways. |
מתוך הספר
תוצאות 1-5 מתוך 18
עמוד 10
... Opening in Columbus and then moving to Broadway , the play starred Barrymore in blackface makeup as Sister Mary or Si May - e , a Gullah woman who moves between the church and conjure practices . Theater critics were united in their ...
... Opening in Columbus and then moving to Broadway , the play starred Barrymore in blackface makeup as Sister Mary or Si May - e , a Gullah woman who moves between the church and conjure practices . Theater critics were united in their ...
עמוד 11
... opening for black playwrights to capitalize on the commercial pop- ularity of black religious subjects in theater, and even though they were not entirely successful in exercising complete control in shaping these representations the ...
... opening for black playwrights to capitalize on the commercial pop- ularity of black religious subjects in theater, and even though they were not entirely successful in exercising complete control in shaping these representations the ...
עמוד 23
... opening of ' Hearts in Dixie , ” " he wrote , “ the future of the talking - movie has taken on a rosier hue . Voices can be found which are ideal for this medium . It may be that the talking-movies must be participated in exclusively by ...
... opening of ' Hearts in Dixie , ” " he wrote , “ the future of the talking - movie has taken on a rosier hue . Voices can be found which are ideal for this medium . It may be that the talking-movies must be participated in exclusively by ...
עמוד 31
הגעת למגבלת הצפייה עבור ספר זה מדוע?.
הגעת למגבלת הצפייה עבור ספר זה מדוע?.
עמוד 47
הגעת למגבלת הצפייה עבור ספר זה מדוע?.
הגעת למגבלת הצפייה עבור ספר זה מדוע?.
תוכן
1 | |
19 | |
2 De Lawd a Natchel Man | 52 |
3 A Mighty Epic of Modern Morals | 88 |
4 Saturday Sinners and Sunday Saints | 130 |
5 A Long Long Way | 163 |
6 Why Didnt They Tell Me Ima Negro? | 204 |
Conclusion | 235 |
Filmography | 239 |
Notes | 241 |
Select Bibliography | 319 |
Index | 331 |
מהדורות אחרות - הצג הכל
מונחים וביטויים נפוצים
African Amer African American African American religion AMPAS Angeles argued Bible black churches black press black religious black-audience films Blood of Jesus Broadway Cabin California Eagle cast censors characters Chicago Defender Chick choir Christian Cinema colored congregation Connelly's context Cripps critics director emphasized entertainment Ethel Waters Eva Jessye figure film's filmmakers Gertie gious Going to Glory Goldberg Green Pastures Hallelujah Harlem Hollywood Ibid ican images Ingram insisted issues King Vidor Lawd Lost Boundaries Marc Connelly March Martha Metro-Goldwyn-Mayer Micheaux minister Minnelli moral Motion Picture MPPDA NACP narrative Negro Soldier nightclub performance Pittsburgh Courier play present Production Code race movies racial release reli representations of African Robeson Sack Amusement Enterprises scene Scott screen script sermon sexual singing Sky file social Spencer Williams spiritual story studio Tales of Manhattan theater tion University Press urban viewers Warner Bros Werker Williams's wrote York Amsterdam Zeke
קטעים בולטים
עמוד 162 - For I know this, that after my departing shall grievous wolves enter in among you, not sparing the flock. Also of your own selves shall men arise, speaking perverse things, to draw away disciples after them.
עמוד 317 - It cannot be put out of view that the exhibition of moving pictures is a business, pure and simple, originated and conducted for profit...
עמוד 162 - God that made the world, and all things therein, seeing that he is Lord of heaven and earth, dwelleth not in temples made with hands...
עמוד 315 - Once to every man and nation comes the moment to decide, In the strife of truth with falsehood, for the good or evil side; Some great cause, God's New Messiah, offering each the bloom or blight, Parts the goats upon the left hand and the sheep upon the right; And the choice goes by forever 'twixt that darkness and that light.
עמוד 315 - Truth forever on the scaffold, Wrong forever on the throne,— Yet that scaffold sways the future, and, behind the dim unknown, Standeth God within the shadow, keeping watch above his own.
עמוד 162 - Wherefore I take you to record this day, that I am pure from the blood of all men : For I have not shunned to declare unto you all the counsel of God.
עמוד 70 - Unburdened by the differences of more educated theologians they accept the Old Testament as a chronicle of wonders which happened to people like themselves in vague but actual places, and of rules of conduct, true acceptance of which will lead them to a tangible, three-dimensional Heaven.
עמוד 317 - ... a significant medium for the communication of ideas. They may affect public attitudes and behavior in a variety of ways, ranging from direct espousal of a political or social doctrine to the subtle shaping of thought which characterizes all artistic expression. The importance of motion pictures as an organ of public opinion is not lessened by the fact that they are designed to entertain as well as to inform.
עמוד 205 - The pervasive gap between our aims and what we actually do is creating a kind of moral dry rot which eats away at the emotional and rational bases of democratic beliefs.