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Images of violent black masculinity are not new in American culture, but in the late 1980s and early '90s, the social and economic climate in the country contributed to an unprecedented number of films about ghetto life. And while Hollywood reaped financial gains from these depictions, the rest of the country saw an ever widening 'opportunity gap' between marginalized groups and mainstream society, as well as an increase in juvenile violence. These events added to the existing discomfort of the viewing public with representations of young black males living in urban ghettos.

African Americans in motion pictures. --- Youth in motion pictures. --- Youth in moving-pictures --- Motion pictures --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Race films

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Publisher's description: From the earliest sound films to the present, American cinema has represented African Americans as decidedly musical. Disintegrating the Musical tracks and analyzes this history of musical representations of African Americans, from blacks and whites in blackface to black-cast musicals to jazz shorts, from sorrow songs to show tunes to bebop and beyond. Arthur Knight focuses on American film's classic sound era, when Hollywood studios made eight all-black-cast musicals₇a focus on Afro-America unparalleled in any other genre. It was during this same period that the first black film stars₇Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge₇emerged, not coincidentally, from the ranks of musical performers. That these films made so much of the connection between African Americans and musicality was somewhat ironic, Knight points out, because they did so in a form (song) and a genre (the musical) celebrating American social integration, community, and the marriage of opposites₇even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar₇Show Boat, Stormy Weather, Porgy and Bess₇and obscure₇musical films by pioneer black director Oscar Micheaux, Lena Horne's first film The Duke Is Tops, specialty numbers tucked into better-known features, and lost classics like the short Jammin' the Blues. It considers the social and cultural contexts from which these films arose and how African American critics and audiences responded to them. Finally, Disintegrating the Musical shows how this history connects with the present practices of contemporary musical films like O Brother, Where Art Thou? and Bamboozled. A lively examination of an important, overlooked element of American cinematic history, Disintegrating the Musical will appeal to those interested in cinema studies and African American studies.

African Americans in motion pictures. --- Musical films --- History and criticism. --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Motion pictures --- Race films

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Young, the film's producer and cinematographer, and Khalil Gibran Muhammad, the Director of the Schomburg Center for Research in Black Culture.

African Americans in motion pictures. --- Race relations in motion pictures. --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Motion pictures --- Race films --- Nothing but a man (Motion picture)

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African Americans in motion pictures --- Afro-Americans in motion pictures. --- Afro-American entertainers - Biography - Dictionaries. --- Afro-Americans in the motion picture industry. --- Afro-Americans in television broadcasting. --- Motion pictures - United States - Plots, themes, etc.

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"In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality."--

African Americans in motion pictures --- Race in motion pictures --- Motion picture industry --- United States --- Sociology of minorities --- Film --- Race films --- film --- filmgeschiedenis --- cinema --- filmtheorie --- zwarte cinema (Black film) --- 798.4 --- 798.3 --- Motion pictures --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Race movies --- African Americans in the motion picture industry --- film, geschiedenis der filmkunst --- film, esthetiek en kritiek --- United States of America