Phyllis Rauch Klotman – författare
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3 produkter
3 produkter
249 kr
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Six independent African American filmmakers, including Charles Burnett, director of the film To Sleep with Anger, are represented in this collection by screenplays produced from 1973 to 1989. They speak in their own voice, a black voice which has resisted the cultural dominance of Hollywood. Phyllis Rauch Klotman introduces each screenplay provides a biographical sketch of the filmmaker, and lists the casts and production credits for each film: Ganja and Hess, Killer of Sheep, Losing Ground, Illusions, A Different Image, and Sidewalk Stories.
450 kr
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A reprint of the classic 1979 edition, containing listings of over 3000 film items with Black themes and subject matter from the period 1900–1977.For the past decade or so scholars have been looking at the role of Blacks in a medium that has profoundly influenced attitudes toward race and society. Here is a compendium of approximately 3,000 film items. Listed are films with black themes or subject matter (even before black actors appeared in them); films featuring substantial participation by Blacks as writers, actors, producers, directors, musicians, and consultants; and films in which Blacks play incidental roles. Productions by both American and foreign companies made between 1900 and 1977 are included. Each entry is categorized by type and fully identified and annotated, with complete cast lists. Because general information about many of the films is readily accessible, the emphasis in Frame by Frame—A Black Filmography is on the presence and participation of Blacks—an emphasis that brings to the fore their important contributions to the art of filmmaking.
289 kr
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Struggles for Representation examines over 300 non-fiction films by more than 150 African American film/videomakers and includes an extensive filmography, bibliography, and excerpts from interviews with film/videomakers. In eleven original essays, contributors explore the extraordinary scope of these aesthetic and social documents and chart a previously undiscovered territory: documentaries that examine the aesthetic, economic, historical, political, and social forces that shape the lives of black Americans, as seen from their perspectives.Until now, scholars and critics have concentrated on black fiction film and on mainstream non-fiction films, neglecting the groundbreaking body of black non-fiction productions that offer privileged views of American life. Yet, these rich and varied works in film, video, and new electronic media, convey vast stores of knowledge and experience. Although most documentary cannot hope to match fiction film's mass appeal, it is unrivaled in its ability to portray searing, indelible impressions of black life, including concrete views of significant events and moving portraits of charismatic individuals. Documentary footage brings audiences the moments when civil rights protestors were attacked by state troopers; it provides the sights and sounds of Malcom X delivering an electrifying speech, Betty Carter performing a heart-wrenching song, and Langston Hughes strolling on a beach. Uniting all of this work is the "struggle for representation" that characterizes each film–an urgent desire to convey black life in ways that counter the uninformed and often distorted representations of mass media film and television productions. African American documentaries have long been associated with struggles for social and political empowerment; for many film/videomakers, documentary is a compelling mode with which to present an alternative, more authentic narrative of black experiences and an effective critique of mainstream discourse. Thus, many socially and politically committed film/videomakers view documentary as a tool with which to interrogate and reinvent history; their works fill gaps, correct errors, and expose distortions in order to provide counter-narratives of African American experience.Contributors include Paul Arthur, Houston A. Baker, Jr., Mark F. Baker, Pearl Bowser, Janet K. Cutler Manthia Diawara, Elizabeth Amelia Hadley, Phyllis R. Klotman, Tommy Lee Lott, Erika Muhammad, Valerie Smith, and Clyde Taylor.