Richard E. Norman and Race Filmmaking

Barbara Tepa Lupack has written extensively on American literature, film, and culture. She has authored or edited more than 20 books and taught at universities within the United States and abroad.

"Thoroughly researched and crisply written. . . The first book-length work on Norman, Lupack's monograph clearly delineates the Norman Company's importance . . . [Richard E. Norman and Race Filmmaking's] most profound contribution lies, perhaps, in how it illuminates the fraught economics of race filmmaking . . . ."—Journal of American History"Lupack's book provides a wealth of archival information about this vibrant moment in film history . . . . [This] is a solid contribution to regional film studies and race film business practice, and will appeal to scholars, students, and film-buffs alike."—Black Camera"Grounded in impressive archival research, Barbara Lupack's book offers a long overdue history of Richard E. Norman and the filmmaking company he established early in the twentieth century. Lupack's ability to describe Norman's films—and the work that went into their production—reanimates them for readers and stresses their role in shaping early African American cinematic representation."—Paula Massood, author of Making a Promised Land: Harlem in 20th-Century Photography and Film

• Foreword by Michael MartinAcknowledgementsList of AbbreviationsIntroduction: A New Vision of Opportunity1. Race Matters: The Evolution of Race Filmmaking2. "Have You Talent?": Norman's Early Career3. "Not a White Man in the Cast": Norman's Early Race Films4. "Taking Two Hides From the Ox": The Bull-Dogger and The Crimson Skull5. "A Risky Experiment": Zircon and Regeneration6. "You Know We Have the Goods": The Flying Ace and Black Gold7. "It Takes a Darn Good One to Stick": Norman's Later Career AfterwordAppendix 1: Shooting Script: The Green Eyed MonsterAppendix 2: Shooting Script (Fragment) and Scenario: The Bull-DoggerAppendix 3: Shooting Script: The Crimson SkullNotesIndex