African American Filmmakers, African American Films:
A Bibliography of Materials in the UC Berkeley Library













Books and Articles on Individual Filmmakers
Reviews and Articles About Individual Films in the MRC Collection

Individual Filmmakers, Actors, and Actresses

Charles Burnett

"Charles Burnett." (film director)(Cover Story)
Current Biography v56, n9 (Sept, 1995):9 (4 pages).

"Charles Burnett and Charles Lane." (two independent filmmakers discuss film) (interview)
American Film v16, n8 (August, 1991):40 (4 pages).

Hozic, Aida A.
"The House I Live In: An Interview with Charles Burnett." Callaloo 1994 Summer, 17:2, 471-91.
UC users only
"Film director Charles Burnett is not a prolific filmmaker, with only three feature films to his credit since starting his career in 1973. However, his first feature, 'The Killer of Sheep,' is now regarded as a masterpiece, with an honorary protection at the National Registry of Films. As a maker of films with social commentaries, Burnett is better known in Europe, than in his native US. Burnett is now in the process of completing 'The Glass Shield,' his first film to overtly tackle the issue of racism." [Expanded Academic Index]

Kim, Sojin; Livengood, R. Mark.
"Talking with Charles Burnett." Journal of American Folklore, 1998 Winter, 111:439, 69-73.
UC users only

Merritt, Bishetta D.
"Charles Burnett: Creator of African American Culture on Film." Journal of Black Studies, Sep2008, Vol. 39 Issue 1, p109-128, 20p
UC users only

Reynaud, Berenice.
"An interview with Charles Burnett." (filmmaker) (Black Film Issue) (interview) Black American Literature Forum v25, n2 (Summer, 1991):323 (12 pages).
UC users only

Sragow, Michael
"An explorer of the black mind looks back, but not in anger." (interview with Charles Burnett, director of 'The Glass Shield' motion picture) The New York Times Jan 1, 1995 v144 s2 pH9(N) pH9(L) col 3 (41 col in)

Thompson, Cliff.
"The Devil Beats His Wife: Small Moments and Big Statements in the Films of Charles Burnett." Cineaste 1997, 23:2, 24-27.

White, Armond.
"Sticking to the soul." (Black filmmaker Charles Burnett) Film Comment v33, n1 (Jan-Feb, 1997):38 (4 pages).

White, Armond; Cox, Alex
"Slaughter house blues." Sight & Sound; Vol.XII nr.7 (July 2002); p.28-30
It is Charles Burnett, not Spike Lee, who is black America'a most risk-taking director, as evidenced by both "Killer of sheep" and "To sleep with anger". Followed by an interview with Charles Burnett, who discusses his time at UCLA in the 1960's and the making of his thesis film "Killer of sheep".

Killer of Sheep

Hedges, Inez
"Signifyin' and Intertextuality: Killer of Sheep and Black Independent Film." Socialism & Democracy; Jul2007, Vol. 21 Issue 2, p133-143, 11p, 2 bw
UC users only

James, Davie E.
"Toward a Geo-Cinematic Hermeneutics: Representations of Los Angeles in Non-Industrial Cinema-Killer of Sheep and Water and Power." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice. 20 (3): 23-53. 1998 July.
UC users only

Kim, Sojin; Livengood, R. Mark.
"Killer of Sheep." (movie reviews) Journal of American Folklore v111, n439 (Wntr, 1998):69 (5 pages).
UC users only
"Charles Burnett has written or directed nine features for television and cinema, including his thesis project film, 'Killer of Sheep, which won him an award from the UCLA of School of Film and Television, and the 1990 Danny Glover-film 'To Sleep with Anger.' The theme of Burnett films are usually about the contemporary life of African Americans in the neighborhoods of Los Angeles, CA, as he believes in writing, thus, exposing the threatened ways of life." [Expanded Academic Index]

Massood, Paula J.
"An Aesthetic Appropriate to Conditions: Killer of Sheep, (Neo)Realism, and the Documentary Impulse." Wide Angle Volume 21, Number 4, October 1999
UC users only

Palmer, William J.
"From Blaxploitation to African American Film." In: The films of the seventies : a social history / by William J. Palmer. Metuchen, N.J. : Scarecrow Press, 1987.
Main Stack PN1995.9.S6.P341 1987
Moffitt PN1995.9.S6.P34 1987

White, Armond. Cox, Alex.
"Slaughterhouse Blues." Sight and Sound. 12 (7): 28-30. 2002 July.
Director Charles Burnett's 1977 UCLA master's thesis was the critically acclaimed 'Killer of the Sheep,' the story of Stan, a slaughterhouse worker.

Wood, Winifred J.
"Bunnies for Pets or Meat: The Slaughterhouse as Cinematic Metaphor." JAC: A Journal of Rhetoric, Culture & Politics, 2011, Vol. 31 Issue 1/2, p12-44, 33p

To Sleep with Anger

Ansen, David.
"To Sleep with Anger." (movie reviews) Newsweek v116, n17 (Oct 22, 1990):75 (1 page).

Canby, Vincent.
"To Sleep with Anger." (movie reviews) New York Times v140 (Fri, Oct 5, 1990):B3(N), C10(L), col 1, 20 col in.

Chandler, Karen
"Folk Culture and Masculine Identity in Charles Burnett's To Sleep with AngerFolk Culture and Masculine Identity in Charles Burnett's To Sleep with Anger." African American Review, Vol. 33, No. 2 (Summer, 1999), pp. 299-311
UC users only

Corliss, Richard.
"To Sleep with Anger." (movie reviews) Time v136, n17 (Oct 22, 1990):63 (1 page).

Cunningham, Phillip Lamarr.
"The haunting of a Black Southern past : considering conjure in To sleep with anger." In: Southerners on film : essays on Hollywood portrayals since the 1970s / edited by Andrew B. Leiter. Jefferson, N.C. : McFarland, c2011.
Main (Gardner) Stacks PN1995.9.S66 S68 2011

Ellison, Mary.
"Echoes of Africa in To Sleep With Anger and Eve's Bayou." African American Review. Spring 2005. Vol. 39, Iss. 1/2; p. 213 (17 pages)
UC users only

Johnson, Brian D.
"To Sleep with Anger." (movie reviews) Maclean's v103, n47 (Nov 19, 1990):57 (1 page).

Jones, Jacquie.
"The Black South in Contemporary Film." African-American-Review, 1993 Spring, 27:1, 19-24.
Julie Dash's 'Daughters of the Dust' and Charles Burnett's 'To Sleep with Anger' portray alternative images of Afro-American culture than commonly found in films. Both films believe the solution to Afro-American social problems is not to be found by rejecting Afro-American culture but rather by embracing it more fully. Dash describes the immigration of one family to the new world and with it the dilution of culture as they are absorbed by the US. Burnett relays the life of an Afro-American who has succeeded in US culture but who is distanced from Afro-American culture.

Kim, Sojin; Livengood, R. Mark.
"To Sleep with Anger." (movie reviews) Journal of American Folklore v111, n439 (Wntr, 1998):69 (5 pages).

Klawans, Stuart.
"To Sleep with Anger." (movie reviews) Nation v251, n15 (Nov 5, 1990):537 (1 page).

Lopate, Phillip.
"To Sleep with Anger." (movie reviews) Esquire v114, n5 (Nov, 1990):101 (2 pages).

O'Brien, Ellen L.
"Charles Burnett's To Sleep with Anger: An Anthropological Perspective." Journal of Popular Culture. 35(4):113-26. 2002 Spring
UC users only

Rafferty, Terrence.
"To Sleep with Anger." (movie reviews) New Yorker v66, n38 (Nov 5, 1990):140 (2 pages).

Rainer, Peter.
"To Sleep With Anger." (video recording reviews) American Film v16, n6 (June, 1991):58 (1 page).

Rohter, Larry.
"An all-black film (except for the audience)." ('To Sleep With Anger' draws critical praise, few black audiences) (Living Arts Pages) New York Times v140 (Tue, Nov 20, 1990):B1(N), C15(L), col 1, 17 col in.

Scheiber, Andrew.
"Healing and the Blues: Charles Burnett's "To Sleep With Anger."" Connecticut Review, Fall2004, Vol. 26 Issue 2, p131-141, 11p

Travers, Peter.
"To Sleep with Anger." (movie reviews) Rolling Stone, n590 (Nov 1, 1990):96 (1 page).

Wall, James M.
"To Sleep with Anger." (movie reviews) Christian Century v108, n2 (Jan 16, 1991):35 (2 pages).

Dorothy Dandridge

Als, Hilton.
"Dark star: a life that talent couldn't overcome." (actress Dorothy Dandridge) New Yorker v73, n24 (August 18, 1997):68 (5 pages).
Dandridge led a dramatic life that included fame, abuse, divorce, alcohol use and bankruptcy. She was known as a sex symbol, but felt uncomfortable in that role. Dandridge became the first African American to be nominated for an Academy Award for her leading role in 'Carmen Jones' in 1954.

Bogle, Donald.
Dorothy Dandridge : a biography Published: New York, N.Y. : Amistad : Distributed by St. Martin's Press, c1997.
MAIN: PN2287.D256 B64 1997;
PFA : PN2287.D256 B64 1998 [another edition

Bourne, Stephen
"Star equality."Films & Filming nr 352 (Jan 1984); p 24-25
Second and final part of an article on black actresses in Hollywood, which looks at the careers of Diana Ross and Dorothy Dandridge.

Dandridge, Dorothy
Everything and nothing; the Dorothy Dandridge tragedy Published: New York, Abelard-Schuman [1970]
MAIN: PN2287.D256 A3 1970
MOFF: PN2287.D256 A3 2000 [another edition]

Gilbert, Tiffany.
"American iconoclast: Carmen Jones and the revolutionary divadom of Dorothy Dandridge." Women's Studies Quarterly 33.3-4 (Fall-Winter 2005): 234-249.
"The groundbreaking performance Dorothy Dandridge in 'Carmen Jones' is examined, which provided Dandridge with the diva status thitherto reserved for white stars. It is argued that the film's aesthetic mixture of opera and film cleverly exploited the high culture status of opera to permit Dandridge more leeway in pursuing an aggressive sexual autonomy." [Expanded Academic Index]

Lightning, Robert K.
"Dorothy Dandridge: ruminations on black stardom."CineAction nr 44 (July 1997); p 32-39
UC users only
Explores Dandridge's screen persona, considering its dominant elements of sexual allure, pragmatism, idealism, romanticism, defiance and rebellion.

Lyman, Stanford M.
"Race, Sex, and Servitude: Images of Blacks in American Cinema." International Journal of Politics, Culture, and Society 1990 4(1): 49-77.
American films from 1909 to the 1970's, detailing the careers of Dorothy Dandridge, Paul Robeson, and Orlando Martins, which were diminished by white prejudice.

Negra, Diane
Off-white Hollywood : American culture and ethnic female stardom London ; New York : Routledge, 2001.
MAIN: PN1995.9.M56 N44 2001

Regester, Charlene
"The Evocation of Death in Dorothy Dandridge's Photograph: The Reading of a Still." Popular Culture Review 2003, VOL 11; PART 2, pages 29-38

Regester, Charlene
"Dorothy Dandridge: Intertwining the Reel and the Real." In: African American actresses : the struggle for visibility, 1900-1960 / Charlene Regester. Bloomington : Indiana University Press, c2010.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.N4 R42 2010

Rippy, Marguerite H.
"Commodity, Tragedy, Desire: Female Sexuality and Blackness in the Iconography of Dorothy Dandridge." In: Classic Hollywood, classic whiteness / Daniel Bernardi, editor. Minneapolis : University of Minnesota Press, c2001.
Full text available online (UCB users only)
Main Stack PN1995.9.M56.C59 2001

Rippy, Marguerite H.
"Exhuming Dorothy Dandridge: the black sex goddess and classic Hollywood cinema." CineAction nr 44 (July 1997); p 20-31
UC users only
The article examines cinematic performances of African American actress Dorothy Dandridge. An inversion of the miscegenation myth appeared repeatedly in Dandridge's films. Her interracial appeal was portrayed in movies as both inescapable and taboo, and specifically labeled these desires as tragic, destructive to both desirer and desired. The article is devoted to a reinterpretation of Dandridge, with an aim of offering an alternative to regarding her as the spice in an American fantasy of feminine sexuality.

Smith, Jeff.
"Black faces, white voices: the politics of dubbing in Carmen Jones." Velvet Light Trap (Spring 2003): 29(14).

Julie Dash

Aldama, Frederick Luis
Postethnic narrative criticism : magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie. 1st st ed. Austin : University of Texas Press, 2003.
Main Stack PS374.M28.A43 2003

Alexander, K.
"Daughters of the Dust: Julie Dash Talks About African American Women's Cinema and Images from Her Film." Sight and Sound, 1993 Sept., V3 N9:20-22.

Backstein, Karen.
"The Cinematic Jazz of Julie Dash." (Independents) Cineaste v19, n4 (Fall, 1992):88.

The Cinematic Jazz of Julie Dash.
Afro-American filmmaker, producer, writer and director Julie Dash talks about her life and work and the difficulties she has had getting her films distributed and accepted. Interspersed with her comments are clips from three of her films, Daughters of the Dust, Illusions, and Diary of an African Nun, and she talks about the making of a fourth film, Four Women. One of her principal aims, she says, is "to redefine images of black women on the screen." 1992. 27 min. Video/C 7081

Davis, Zeinabu Irene.
"An Interview with Julie Dash." Wide Angle, vol. 13 no. 3-4. 1991. pp: 110-18.
Independent US filmmaker J.D. discusses plans for a series of films detailing the history of black women in the USA (Originally publ. in 'Black Film Review').

Erhart, Julia.
"Picturing What If: Julie Dash's Speculative Fiction." Camera Obscura: A Journal of Feminism, Culture, and Media Studies, vol. 38. 1996 May. pp: 117-31.

Gibson-Hudson, Gloria.
"Aspects of Black Feminist Cultural Ideology in Films by Black Women Independent Artists." In: Multiple Voices in Feminist Film Criticism / Diane Carson,Linda Dittmar, and Janice R. Welsch, editors. pp: 365-79. Minneapolis: University of Minnesota Press, c1994.
UCB Main PN1995.9.W6 M82 1994
UCB Moffitt PN1995.9.W6 M82 1994

Hartman, S.V., Farah Jasmine Griffin.
"Are you as colored as that Negro?: the politics of being seen in Julie Dash's 'Illusions.'" (Black Film Issue) Black American Literature Forum Summer 1991 v25 n2 p361(13)

Lee, Felicia R.
"Where a filmmaker's imagination took root." (Julie Dash grew up at Queensbridge House Project, Long Island, City, Queens) (Living Arts Pages) The New York Times Dec 3, 1997 v147 pB2(N) pE1(L) col 3 (28 col in)

"Making Movies That Matter: A Conversation with Julie Dash." Black Camera, Spring/Summer2007, Vol. 22 Issue 1, p4-12, 9p
UC users only

Mayne, Judith.
"Screening Lesbians." In: The New Lesbian Studies: Into the Twenty-First Century / edited by Bonnie Zimmerman and Toni A. H. McNaron; foreword by Margaret Cruikshank. New York: Feminist Press at the City University of New York, 1996.
UCB Main HQ75.15 .L47 1996
UCB Moffitt HQ75.15 .L47 1996 pp: 165-71.

Mellencamp, Patricia.
"Haunted History: Tracey Moffatt and Julie Dash." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 16 no. 2. 1993-1994 Winter. pp: 127-63.

Mellencamp, Patricia.
"Making history: Julie Dash." Frontiers v15, n1 (Winter, 1994):76 (26 pages).
Julie Dash's 'Illusions' is a sensitive film that addresses the issues of race, gender and feminism. It features a young black singer named Ester Jeeter, who was asked to dub the voice-over for a blond actress. The plot reminds the public of the hyprocrisy and racism in Hollywood during the 1940s. It also charges the motion picture industry of eliminating the representation of African-American women in films by only using voices to dub the voices of white stars." [Expanded Academic Index]

O'Grady, Lorraine.
"The Cave." (on Black women directors) (Column) Artforum v30, n5 (Jan, 1992):22 (3 pages).

Ogunleye, Foluke
"Transcending the "Dust": African American Filmmakers Preserving the "Glimpse Of the Eternal." College Literature; Winter2007, Vol. 34 Issue 1, p156-173, 18p
UC users only

Ryan, Judylyn S.
"Outing the Black Feminist Filmmaker in Julie Dash's Illusions." Signs. Vol 30(1), Fal 2004, pp. 1319-1344
UC users only

Williams, John
"Re-creating their media image: two generations of black women filmmakers." (includes filmography) Cineaste Summer 1993 v20 n3 p38(5)
UC users only
"The third generation of black women filmmakers appears to possess a greater degree of boldness and uncompromising sincerity as compared to the hip-hop, 'home-boy' male filmmakers of the 1990s that have gained entry in the commercial film industry. These black women filmmakers produce a wider and far more complex body of work that offers better alternatives to the stereotypical images of black women portrayed in mainstream media. Filmmakers discussed include Kathleen Collins-Prettyman, Julie Dash, Alile Sharon Larkin, Monica J. Freeman, Camille Billops and Dareshi Kyi." [Expanded Academic Index]

Julie Dash: Reviews and Articles About Individual Films

Daughters of the Dust

Includes writing about both the film and the book

Aldama, F. L.
"Structural configuration of magic realism in the works of Gabriel Garcia Marquez, Leslie Marmon Silko, Charles Johnson, and Julie Dash." Journal of Narrative and Life History, 5: (2) 147-160 1995
This article raises the question of how contemporary multicultural authors and film directors build upon the magic-realist convention, with its specific narrative-discourse configurations (the way the story is told) to allow their audience access to foreign, often bizarre worlds. The first section of the analysis deals with understanding the precise structural configurations that make a text work as magic realism and explores variations that complicate the schemata. The second section relies on the first section's discussion of magic-realist codes to look closely at Julie Dash's film Daughters of the Dust, a text type that utilizes its visual and auditory tracks to work as magic realism.

Aldama, F. L.
Postethnic narrative criticism : magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie Austin : University of Texas Press, 2003
MAIN: PS374.M28 A43 2003

Alexander, K.
"Daughters of the Dust: Julie Dash Talks About African American Women's Cinema and Images from Her Film." Sight and Sound, 1993 Sept., V3 N9:20-22.
"Julie Dash's film 'Daughters of the Dust' celebrates the role of women in African American culture at the turn of the century. Her film represents a departure from other films by black directors, most of which are male oriented and urban in their setting. Dash's narrative compares the societal role of African American women to that of women in the West African nations from which they were taken. The visual appeal of the film has caused some critics to dismiss its historical and cultural value. Dash responds that black films can be both aesthetically pleasing and socially relevant." [Expanded Academic Index]

Alexander, Karen.
"Julie Dash: Daughters of the Dust and a Black Aesthetic." In: Women and film: a Sight and sound reader / edited by Pam Cook and Philip Dodd. pp: 224-31. Philadelphia : Temple University Press, 1993. Culture and the moving image.
Main Stack PN1995.9.W6.W63 1993
Moffitt PN1995.9.W6.W63 1993

Backstein, K.
"The Cinematic Jazz of Julie Dash. Cineaste XIX/4, 93; p.88.
On the representation of the societal roles of black women in the films of Julie Dash.

Baker, Houston A., Jr.
"Not Without My Daughters." Transition: An International Review, vol. 57. 1992. pp: 150-66.

Bambara, Toni Cade
"Reading the Signs, Empowering the Eye: Daughters of the Dust and the Black Independent Cinema Movement." In: Black American cinema / edited by Manthia Diawara. New York : Routledge, 1993.
Main Stack PN1995.9.N4.B45 1993
Moffitt PN1995.9.N4.B45 1993

Benton, Jacquelyn.
"Grace Nichols' I Is a Long Memoried Woman and Julie Dash's Daughters of the Dust: Reversing the Middle Passage." In: Black women writers across cultures : an analysis of their contributions / edited by Valentine Udoh James ... [et al.]. pp: 221-32. Lanham, Md. : International Scholars Publications, c2000.
Main Stack PR9340.5.B57 2000

Biccum, April
"Third cinema in the 'first' world: "Eve's Bayou" and "Daughters of the dust"." CineAction; nr.49 (1999); p.60-65
Using Teshome H. Gabriel's model of Third Cinema, compares the two films' treatments of African-American cultural memory.

Boyd, Valerie.
"Daughters of the Dust." (movie reviews) American Visions v6, n1 (Feb, 1991):46A (3 pages).

Brondum, Lene.
"'The Persistence of Tradition': The Retelling of Sea Islands Culture in Works by Julie Dash, Gloria Naylor, and Paule Marshall." In: Black imagination and the middle passage / edited by Maria Diedrich, Henry Louis Gates, Jr., Carl Pedersen. pp: 153-63. New York : Oxford University Press, 1999. W.E.B. Du Bois Institute (Series)
Main Stack PS153.N5.B554 1999

Brouwer, Joel R.
"Repositioning: Center and Margin in Julie Dash's 'Daughters of the Dust.'" African American Review v29, n1 (Spring, 1995):5 (12 pages)
UC users only
"Examines the narrative technique of Julie Dash's 1991 film Daughters of the Dust and recounts Dash's struggle to make the film without Hollywood financing. A portrait of a South Carolina Gullah community in 1902, the film eschews traditional Hollywood storytelling in favor of a narrative technique based on the African Griot's circular narrative." [Expanded Academic Index]

Brown, Caroline.
"The representation of the indigenous other in Daughters of the Dust and The Piano." NWSA Journal 15.1 (Spring 2003): 1(19).
UC users only

Chan. Vera
"The Dust of history." (making the movie, 'Daughters of the Dust'). Mother Jones Nov-Dec 1990 v15 n7 p60(1)

Cucinella, Catherine; Curry, Renee R.
"Exiled at Home: Daughters of the Dust and the Many Post-Colonial Conditions." MELUS, Winter2001, Vol. 26 Issue 4, p197, 25p
UC users only

Curry, Renee R.
"Daughters of the Dust, the White Woman Viewer, and the Unborn Child." In: Teaching What You're Not: Identity Politics in Higher Education / edited by Katherine J. Mayberry. pp: 335-56. New York: New York University Press, c1996.
Educ/Psych LB2331.T427 1996

Daughters of the Dust: The Making of an African American Woman's Film / by Julie Dash [with Toni Cade Bambara and Bell Hooks]. 1st ed. New York: New Press, 1992.
Main Stack PN1997.D313343.D3 1992
Moffitt PN1997.D313343.D3 1992

Davies, Jude.
"Tensioned and Interlocking Identities in Daughters of the Dust." In: Gender, Ethnicity and Sexuality in Contemporary American Film / Jude Davies and Carol R. Smith. pp: 82-9. Edinburgh : Keele University Press, 1997. BAAS paperbacks
Main Stack PN1995.9.M64.D38 1997

Davis, Zeinabu Irene.
"Daughters of the Dust." Black Film Review, 1986, Vol. 6 Issue 1, p13-17

Ebron, Paulla A.
"Enchanted memories of regional difference in African American culture." American Anthropologist v99, n1 (March, 1998):94 (13 pages).
"Julie Dash's film Daughters of the Dust (1991), a powerful description of the "remembered" African-American community of the Sea Islands of Georgia and South Carolina, offers a starting point for an exploration of the construction of African-American communal memories. Self-consciousness about such memory making can illuminate the historically generated roles of gender, regionalism, and urban-rural differences in both popular and scholarly understandings of African-American culture. This is not just an issue for African-American studies, however. A number of key dilemmas in contemporary anthropology are implicated. Most prominent is the rebellion against Enlightenment-based notions of vision and rationality, which explores the senses, the magical, the uncanny, the haunted, and the subjective." [from ABC-CLIO America: History & Life]

Erhart, Julia
"Picturing What if: Julie Dash's speculative fiction." Camera Obscura; nr.38 (May 1996); p.116-131
The term 'speculative fiction' is used to describe Julie Dash's approach to the genre of historical film with her feature "Daughters of the dust".

"Film honoring Gullah heritage selected for national registry.(noteworthy news: film about slaves brought to US Southeast)." Black Issues in Higher Education 21.25 (Jan 27, 2005): 10(2).
UC users only

Francke, Lizzie.
"Daughters of the Dust." (movie reviews) Sight and Sound Sept 1993 v3 n9 p43(2)

Gaither, Laura
"Close-up and slow motion in Julie Dash's Daughters of the Dust." Howard Journal of Communication, vol. 7, no. 2, pp. 103-112, April-June 1996
"As long as there has been traditional Hollywood cinema, there has been independent black cinema. Unwilling to accept Hollywood's creation of racist and sexist images, black men and women filmmakers have articulated their own meaning systems in opposition to Hollywood's hegemonic structures. This article explains how independent filmmaker Julie Dash rejects linear narrative and stereotypical images of black women in Daughters of the Dust (1991); however, her use of slow motion and close-up demonstrate a commitment to the traditional substance of film-reifying the visual. Black women are eminently visible in the film, and Dash intentionally slows time and movement, creating time for audiences to study the subjects. Her close-up shots, focusing in and centering on black women, reveal many complex elements of the black female, elements that have been historically lacking in mainstream cinema. Her use of technical manipulation creates temporal and spatial opportunities for black spectatorship. Using the ideology of the visible to her advantage, Dash transforms cinematic conventions of slow motion and close-up into vehicles for audience gaze and "black looks," privileging the image of black women." [Communication Abstracts]

Gaither, Laura
"'We Have Seen We': Reifying the Visual in Julie Dash's Daughters of the Dust." In Process: A Graduate Student Journal of African-American and African Diasporan Literature and Culture, vol. 1, pp. 112-23, Fall 1996.

Gibbs, James Lowell, Jr.
"Daughters of the Dust." (movie reviews) African Arts v26, n1 (Jan, 1993):81 (3 pages).

Gibson-Hudson, Gloria J.
"The ties that bind: cinematic representations by black women filmmakers." Quarterly Review of Film and Video; Vol.XV nr.2 (July 1994); p.25-44
Four films are examined to show the ways black women of different countries make use of cinema to tell their story: "Daughters of the dust", "Sidet: forced exile", "And still I rise" and "Sisters in the struggle".

Gourdine, Angeletta K.M.
"Fashioning the body [as] politic in Julie Dash's Daughters of the Dust.(Critical Essay)." African American Review 38.3 (Fall 2004): 499(13). Expanded Academic ASAP. Thomson Gale. UC Berkeley (CDL). 16 March 2006
UC users only

Holden, Stephen
"Daughters of the Dust." (Living Arts Pages) (movie review) The New York Times Jan 16, 1992 v141 pB5(N) pC19(L) col 4 (16 col in)

Humm. Maggie.
"Black film theory, black feminisms: Daughters of the dust." Feminism and film, 1997, p113-141

Jones, Jacquie.
"The Black South in Contemporary Film." African-American-Review, 1993 Spring, 27:1, 19-24.
UC users only
"Julie Dash's 'Daughters of the Dust' and Charles Burnett's 'To Sleep with Anger' portray alternative images of Afro-American culture than commonly found in films. Both films believe the solution to Afro-American social problems is not to be found by rejecting Afro-American culture but rather by embracing it more fully. Dash describes the immigration of one family to the new world and with it the dilution of culture as they are absorbed by the US. Burnett relays the life of an Afro-American who has succeeded in US culture but who is distanced from Afro-American culture." [Expanded Academic Index]

Kaplan, Sara Clarke.
"Souls At The Crossroads, Africans on the Water: The Politics of Diasporic Melancholia." Callaloo. Spring 2007. Vol. 30, Iss. 2; pg. 511, 17 pgs
UC users only

Kauffmann, Stanley
"Daughters of the Dust." (movie reviews)The New Republic Feb 10, 1992 v206 n6 p26(2)

Machiorlatti, Jennifer A.
"Revisiting Julie Dash's Daughters of the Dust: Black Feminist Narrative and Diasporic Recollection.Preview South Atlantic Review, Winter2005, Vol. 70 Issue 1, p97-116, 20p

Madison, D. Soyini
"Rhythm as Modality and Discourse in Daughters of the Dust." In: This is how we flow : rhythm in Black cultures / edited by Angela M.S. Nelson. Columbia : University of South Carolina Press, c1999.
Main Stack E185.T45 1999

Mayne, Judith
"Screening Lesbians." In: The new lesbian studies : into the twenty-first century / edited by Bonnie Zimmerman and Toni A. H. McNaron, foreword by Margaret Cruikshank. 1st ed. New York : Feminist Press at The City University of New York, 1996.
Main Stack HQ75.15.L47 1996
Moffitt HQ75.15.L47 1996

McKoy, Sheila Smith.
"The Limbo Contest: Diaspora Temporality and Its Reflection in Praiseong for the Widow and Daughters of the Dust." Callaloo 1999 Winter, 22:1, 208-22.
UC users only
"Paule Marshall's 'Praisesong for a Widow' and Julie Dash's 'Daughters of the Dust' are analysed in an attempt to examine limbo time formulations and its impact on cultural contiquity." [Expanded Academic Index]

Mellencamp, Patricia
"Haunted History: Tracey Moffatt and Julie Dash." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 16, no. 2, pp. 127-63, Winter 1993.

Michel, Anthony J.
"Visual Rhetorics and Classroom Practices: Negotiating 'Contact Zones' in Julie Dash's Daughters of the Dust." In: Alternative rhetorics : challenges to the rhetorical tradition / edited by Laura Gray-Rosendale and Sibylle Gruber. pp: 167-83. Albany, NY : State University of New York Press, c2001.
Main Stack PN175.A44 2001

Moore, Darrell
"Daughters of the Dust." (movie reviews) Afterimage April 1992 v19 n9 p4(1)

Muse, Zain A. Omisola Alleyne
"Revolutionary Brillance: The Afrofemcentric Aesthetic." In: Arms akimbo : Africana women in contemporary literature / edited by Janice Lee Liddell and Yakini Belinda Kemp. Gainesville : University Press of Florida, c1999.
Main Stack PS153.N5.A87 1999

Reid, Mark A.
"Rebirth of a Nation: Three Recent Films Resist the Southern Stereotypes of D. W. Griffith, Depicting a Technicolor Region of Black, Brown, and G(R)ay." Southern Exposure, vol. 20, no. 4, pp. 26-28, Winter 1992.

Romney, Jonathan.
"Daughters of the Dust." (movie reviews) New Statesman & Society Sept 17, 1993 v6 n270 p34

Rule, Sheila
"Director defies the odds, and wins." (Julie Dash, 'Daughters of the Dust') (Living Arts Pages) The New York Times Feb 12, 1992 v141 pB3(N) pC15(L) col 1 (21 col in)

Stewart, Jacqueline.
"Negroes laughing at themselves? Black spectatorship and the performance of urban modernity." Critical Inquiry 29.4 (Summer 2003): 650(28).
UC users only

Streeter, Caroline A.
"Was your mama mulatto? Notes towards a theory of racialized sexuality in Gayl Jones's Corregidora and Julie Dash's Daughters of the Dust." Callaloo 27.3 (Summer 2004): 768(787).
UC users only
"Mullata characters are successfully used as symbols to elaborate on gender relations and identity in Gayl Jones's novel Corregidora (1975) and Julie Dash's feature film Daughters of the Dust (1991). Both works also show the significant part women play in maintaining cultural memory for AfroAmerican communities." [Expanded Academic Index]

Wardi, Anissa Janine
"Between breath and death: transatlantic memory in Ntozake Shange's Sassafrass, Cypress and Indigo and Julie Dash's Daughters of the dust." In: Water and African American memory : an ecocritical perspective / Anissa Janine Wardi. Gainesville : University Press of Florida, c2011.
Main (Gardner) Stacks PS153.N5 W344 2011

Weisenfeld, Judith
"'My Story Begins before I Was Born': Myth, History, and Power in Julie Dash's Daughters of the Dust." In: Representing religion in world cinema : filmmaking, mythmaking, culture making / edited by S. Brent Plate. 1st Palgrave Macmillan ed. New York : Palgrave Macmillan, 2003.
Main Stack PN1995.5.R47 2003

Wright, Nancy E.
"Property Rights and Possession in Daughters of the Dust." MELUS, Fall2008, Vol. 33 Issue 3, p11-25, 15p
UC users only

Spike Lee

See separate Spike Lee bibliography

Oscar Micheaux

See separate Micheaux bibliography

Michael Roemer: Reviews and Articles About Individual Films

Murphy, Anthony C.
"Nothing But a Man." (re-release of 1965 motion picture about an African American man's experiences in dealing with his racist society) American Visions v8, n2 (April-May, 1993):12.

Rule, Sheila.
"30 Years Later, a Sensitive Film of Black Family Life Reemerges." ('Nothing But A Man') (Living Arts Pages) New York Times v142 (Tue, March 16, 1993):B1(N), C13(L), col 1, 17 col in.

Taylor, Clarke.
"Nothing but a Man." Los Angeles Times v103, secVI (Tue, Feb 7, 1984):1, col 1, 21 col in.

John Singleton

"Angry, Assertive and Aware." (young black filmmakers) Ebony v47, n1 (Nov, 1991):156 (4 pages).

Brunette, Peter.
"Singleton's Street Noises." (John Singleton, film director) (interview) Sight and Sound v1, n4 (August, 1991):13.

Corliss, Richard.
"Boyz of New Black City: Spike Lee's Jungle Fever Heads a Wave of Films that Convey the Harsh truths of Ghetto Rage and Anguish." (includes vignettes of other Black film directors) Time v137, n24 (June 17, 1991):64 (4 pages).

Leland, John.
"A Bad Omen for Black Movies?" Fears of audience violence could threaten the creative boom among young directors. (includes interview with director John Singleton about violence at the movies and black films) Newsweek v118, n5 (July 29, 1991):48 (2 pages).

Light, Alan.
"Not Just One of the Boyz." Rolling Stone, n612 (Sept 5, 1991):73 (2 pages).

Simpson, Janice C.
"Not Just One of the Boyz." (African American director John Singleton) Time v139, n12 (March 23, 1992):60 (2 pages).

White, Armond
"Flipper-Purify And Furious-Styles (2 Characters From The Recent Films 'Jungle Fever' And 'Boyz N The Hood' By Spike Lee and John Singleton) Sight And Sound, 1991 Aug, V1 N4:8-13.

Wood, Joe.
"John Singleton and the Impossible Greenback Bind of the Assimilated Black Artist." Esquire v120, n2 (August, 1993):59 (8 pages).

John Singleton: Reviews and Articles About Individual Films

Baby Boy

Leonard, David J.
"Baby Boy" In: Screens fade to black : contemporary African American cinema Westport, Conn. : Praeger Publishers, 2006.
MAIN: PN1995.9.N4 L46 2006
Table of contents http://www.loc.gov/catdir/toc/ecip067/2006003336.html

Massood, Paula J.
" From homeboy to Baby boy : masculinity and violence in the films of John Singleton." In: New Hollywood violence / edited by Steven Jay Schneider. Manchester ; New York : Manchester University Press ; New York : Distributed in the USA by Palgrave, 2004.
Main Stack PN1995.9.V5.N49 2004 Main Stack PN1995.9.V5.N49 2004

Blacula

Benshoff, Harry M.
"Blaxploitation Horror Films: Generic Reappropriation or Reinscription?" Cinema Journal - 39, Number 2, Winter 2000
UC users only

"Blacula." The New Yorker v. 48 (September 9 1972) p. 29-30

Gateward, Frances.
"Daywalkin? Night Stalkin? Bloodsuckas: Black Vampires in Contemporary Film." Genders, issue 40, 2004

Hudson, Dale.
"Vampires of color and the performance of multicultural whiteness." In: The persistence of whiteness : race and contemporary Hollywood cinema / edited by Daniel Bernardi. London : New York : Routledge, 2008.
Main Stack PN1995.9.M56.P47 2008

Lawrence, Novotny.
"Fear of a blaxploitation monster: blackness as generic revision in AIP's Blacula." Film International, 2009, Vol. 7 Issue 3, p14-27, 14p
UC users only

Lehman, Paul R.; Browning, John Edgar.
"The Dracula and the Blacula (1972) cultural revolution." In: Draculas, vampires, and other undead forms : essays on gender, race, and culture / edited by John Edgar Browning, Caroline Joan (Kay) Picart. Lanham, Md. : Scarecrow Press, 2009.
Main (Gardner) Stacks PN1995.9.D64 D735 2009

Medovoi, Leerom.
"Theorizing Historicity, or the Many Meanings of Blacula." Screen, vol. 39, no. 1, pp. 1-21, Spring 1998.

Novotny, Lawrence
"Fear of a Blaxploitation Monster: Blackness as Generic Revision in AIP's Blacula." Film International, vol. 7, no. 3 [39], pp. 14-26, 2009
UC users only

Rickels, Laurence A.
"Blacula." In: The vampire lectures Minneapolis : University of Minnesota Press, c1999. (MAIN: PN1995.9.V3 R53 1999)

Sanchez, Tani Dianca.
"Vampires of Color and the Performance of Multicultural Whiteness." In: The persistence of whiteness : race and contemporary Hollywood cinema / edited by Daniel Bernardi. London : New York : Routledge, 2008.
Main (Gardner) Stacks PN1995.9.M56 P47 2008

Borderline (Dir. Kenneth MacPherson, 1930; featuring Paul Robeson)

Brown, Judith.
"Borderline, Sensation, and the Machinery of Expression." Modernism/modernity 14.4 (2007) 687-705
UC users only

Debo, Annette.
"Interracial modernism in avant-garde film: Paul Robeson and H. D. in the 1930 Borderline." Quarterly Review of Film and Video, Volume 18, Issue 4 October 2001 , pages 371 - 383
UC users only

Diepeveen, Leonard.
"H.D. and the Film Arts." Journal of Aesthetic Education, Vol. 18, No. 4 (Winter, 1984), pp. 57-65
UC users only

Donald, James.
"Borderline." Modernism/modernity Volume 15, Number 3, September 2008
UC users only

Friedberg, Anne.
"Approaching Borderline." Millennium Film Journal, Fall1980/Winter81, Issue 7-9, p130-139, 10p

Latimer, Tirza True.
""Queer Situations": Behind the Scenes of "Borderline."" English Language Notes; Fall/Winter2007, Vol. 45 Issue 2, p33-47, 15p
UC users only

McCabe, Susan.
"Borderline Modernism: Paul Robeson and the Femme Fatale." Callaloo, Vol. 25, No. 2 (Spring, 2002), pp. 639-653
UC users only

Paul Robeson : essays on his life and legacy Edited by Joseph Dorinson and William Pencak. Jefferson, N.C. : McFarland, 2002.
Main Stack E185.97.R63.P375 2002
PFA PN2287.R59.P38 2002)

Watson, Jean. "'Nightmare of the Uncoordinated White-folk': Race, Psychoanalysis, and H.D.'s Borderline." In: The psychoanalysis of race / edited by Christopher Lane. New York : Columbia University Press, c1998.
Education-Psychology BF175.4.R34 P78 1998

dt>Boyz In the Hood

Articles/Books

"At the Root of the Rage." (motion picture Boyz N the Hood and violence) (interview) Washington Post v114 (Sun, July 21, 1991):G1, col 5, 25 col in.

Baker, Laura.
"Screening Race: Responses to Theater Violence at New Jack City and Boyz N the Hood." Velvet Light Trap. 44: 4-19. 1999 Fall.
UC users only

"The 'Boyz' of Bloodshed." (gang violence mars opening of film 'Boyz N the Hood') Newsweek v118, n4 (July 22, 1991):57.

"Boyz N The Hood." (movie reviews) Time v138, n3 (July 22, 1991):65.

Chan, Kenneth
"The Construction of Black Male Identity in Black Action Films of the Nineties." Cinema Journal, Vol. 37, No. 2. (Winter, 1998), pp. 35-48.
UC users only

Doherty T; Jones J.
"2 Takes On 'Boyz N The Hood'." Cineaste, 1991, V18 N4:16-18.
Two critiques of "Boyz n the hood", focusing on its portrayal of black US women and parenting.

Dyson M. E.
"Between Apocalypse And Redemption, John Singleton 'Boyz N The Hood'." Cultural Critique, 1992 Spring, N21:121-141.

Dyson, Michael.
Between Apocalypse And Redemption, John Singleton 'Boyz N The Hood'." In: Film theory goes to the movies / edited by Jim Collins, Hilary Radner, and Ava Preacher Collins. New York : Routledge, 1993.
Main Stack PN1994.F43915 1993
Moffitt PN1994.F43915 1993

Dyson, Michael.
"Boyz N the Hood." Tikkun v6, n5 (Sept-Oct, 1991):74 (5 pages).

Dyson, M.E.
"Out of the Ghetto." Sight & Sound II/6, Oct 92; p.18-21.
Survey of new African-American cinema, incl. "Boyz n the hood", "Straight out of Brooklyn", "New jack city", "Juice" and "Malcolm X", focusing on the portrayal of young black males.

Farred, Grant.
"Menace II Society: No Way out for the Boys in the Hood." In: The Movies: Texts, Receptions, Exposures / edited by Laurence Goldstein and Ira Konigsberg. pp: 114-30. Ann Arbor: University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996

Fleming, Michael.
"Black Helmers Look Beyond the 'Hood." (success of black film 'Boyz N the Hood') (film makers) Variety v346, n1 (Jan 20, 1992):3 (3 pages).

Fox, David J.; Easton, Nina J.
"Can Hollywood Do the Right Thing?" Violence mars 'Boyz N the Hood' opening, but insiders still see future for black-themed films. Los Angeles Times v110 (Tue, July 16, 1991):F1, col 2, 23 col in.

Gormley, Paul
"Gangsters and Gangstas: Boyz N the Hood, and the Dangerous Black Body." In: New-Brutality Film : Race and Affect in Contemporary American Film
Full-text of this book available online via ebrary [UC Berkeley users only]
Main Stack PN1995.9.V5.G67 2005
PFA : PN1995.9.V5 G67 2005

Grimm, Michael A.
"Unfortunate Reality: Fictional Portrayals of Children and Violence." In: Images of the Child / edited by Harry Eiss. pp: 115-41 Bowling Green, OH: Bowling Green State University Popular Press, c1994.
Main Stack HQ783.I43 1994
Moffitt HQ783.I43 1994

Harris, Scott; Zamora, Jim Herron.
"Nationwide Violence Mars Opening of 'Boyz' Movie." (shootings near theaters showing 'Boyz N the Hood') Los Angeles Times v110 (Sun, July 14, 1991):A1, col 5, 27 col in.

"Hoodlums." (marketing of film "Boyz N The Hood" may have incited riots at some showings) (American Survey) Economist v320, n7716 (July 20, 1991):A32.

Kennedy, Liam.
"Urban Others: The Black Underclass In American Film." European Contributions to American Studies [Netherlands] 1996 37: 289-300.
"Representations of urban black poor in American cinema have over time reflected contemporary attitudes but also have drawn on established visual codes and conventions. This "visual grammar" of race is long established and still influential. The Birth of a Nation (1915) established conventions that have been reproduced for eighty years, but black filmmakers have sought to present alternative representations not defined by white concerns. Just Another Girl on the IRT (1992) and Boyz N the Hood (1991) attest to the diversity of urban black experience and challenge Hollywood's conventional representations of blacks. Such films effectively question dominant assumptions by presenting black ghetto life as a culture with formative social processes." [from ABC-CLIO: America: History and Life]

King, Thomas R.
"Black-youth Film's Ads Spark Concern." (Paramount Pictures' advertising campaign for new movie "Juice" criticized; fears due to violence after showings of "Boyz N the Hood") (Column) Wall Street Journal (Mon, Jan 13, 1992):B3(W), B6(E), col 1, 17 col in.

Kitwana, Bakari.
"Wankstas, wiggers, and wannabes : hip-hop, film and white boyz in the hood." In: Why white kids love hip-hop : wankstas, wiggers, wannabes, and the new reality of race in America / Bakari Kitwana. New York : Basic Civitas Books, c2005.
Music ML3531.K58 2005
Moffitt ML3531.K58 2005

Lipman, Joanne; Freedman, Alix M.
"Ads for 'Boyz' Create Debate Over Violence." (film 'Boyz N the Hood') (column) Wall Street Journal (Tue, July 16, 1991):B1(W), B1(E), col 1, 26 col in.

"Magiera, Marcy.
"'Boyz' Violence: Who Takes the Rap? ('Boyz N the Hood' film audiences) Advertising Age v62, n30 (July 22, 1991):3 (2 pages).

Magiera, Marcy.
"Violence, Film Marketing Aren't Linked: Singleton." ('Boyz N the Hood' writer-director John Singleton) (Interview) (Brief Article) Advertising Age v63, n4 (Jan 27, 1992):42.

Massood, Paula.
"Mapping the Hood, The Genealogy of City Space in Boyz-n-the-Hood and Menace-II-Society. Cinema Journal, 1996 winter, v35 n2:85-97.
Traces the central role of the urban setting in recent films such as "Boyz n the Hood" and "Menace II Society" to that in early black US literature.

Mills, David.
"'Boyz' and the Breakthrough." (motion picture Boyz N the Hood) Washington Post v114 (Sun, July 21, 1991):G1, col 2, 34 col in.

Mimura, Glen Masato
"On Fathers and Sons, Sex and Death: John Singleton's Boyz n the Hood." Velvet Light Trap /38, Fall 96; p.14-27.
UC users only
Investigates the inherent conservatism in the father-son relationship idealized in "Boyz n the hood" and notes the depiction of women as valuable only to the extent that they are potential mothers.

Morris-Knower, James P.
"Homeboys and Homeplace: The Geography of Adolescence in Straight out of Brooklyn and Boyz N the Hood." Michigan Academician vol. 29 no. 2. 1997 Mar. pp: 185-98.

Nadell, James.
"'Boyz N the Hood': A Colonial Analysis." Journal of Black Studies v25, n4 (March, 1995):447 (18 pages).

Ramlow, Todd R.
"Bad Boys: Abstractions of Difference and the Politics of Youth "Deviance". GLQ, 2003, 9, 1-2, 107-132
" An examination of cultural representations of queerness, disability, & violence focuses on the American obsession with "troubled youth" in pop culture & the mainstream media. Cultural debates surrounding the lyrics of rapper Eminem, the movies Boyz in the Hood (1991) & Kids (1995), & media coverage of the Columbine shootings, are analyzed to point out how metaphors of disability & queerness are used to manage non-normative heterosexual masculinity that is tied to issues of racial & class mobility. It is argued that all of these examples cast race, class, sexuality, & youth as disabilities that hinder social/political enfranchisement, & articulate larger cultural anxieties about masculinity & deviance. These expressions of deviance & violence displace disability & queerness into discourses on the state of youth & the normative future of the social in America. The emphasis on "troubled youth" places young people, racial minorities, queers, & people with disabilities in sites of social anxiety that require increasing surveillance & discipline." [Sociological Abstracts]

Reinhold, Robert.
"Near Bang Territory, an Attentive Crowd for 'Boyz N the Hood.'" (the showing of 'Boyz N the Hood' sparks violence across the nation; such is not the case at the Baldwin Hills Theater in south central Los... New York Times v140 (Mon, July 15, 1991):B1(N), A13(L), col 1, 22 col in.

"Shooting a Messenger." (violence associated with "Boyz 'N the Hood" should not prevent theaters from showing film) (editorial) Los Angeles Times v110 (Tue, July 16, 1991):B6, col 6, 8 col in.

Tal, Kal?
"From Panther to Monster: Representations of Resistance from the Black Power Movement of the 1960's to the Boyz in the Hood and Beyond." In: African American rhetoric(s) : interdisciplinary perspectives / edited by Elaine B. Richardson and Ronald L. Jackson II ; with a foreword by Jacqueline Jones Royster ; with an introduction by Keith Gilyard. Carbondale : Southern Illinois University Press, c2004.
Main Stack PS153.N5.A69 2004
Table of contents http://www.loc.gov/catdir/toc/ecip048/2003019272.html Richardson, Elaine B. (ed.); Jackson, Ronald L., II (ed.); Royster, Jacqueline Jones (foreword); Gilyard, Keith (introd.). (2004). African American Rhetoric(s): Interdisciplinary Perspectives. (pp. 37-58). Carbondale, IL: Southern Illinois UP, xviii, 309 pp.

Van Gelder, Lawrence.
"The Singleton Story." (John Singleton who wrote and directed 'Boyz N the Hood') (column) New York Times v140 (Fri, August 2, 1991):C6(L), col 6, 6 col in.

Wallace, Michele
"Boyz n the hood and Jungle fever." In: Black popular culture / a project by Michele Wallace ; edited by Gina Dent. Seattle : Bay Press, 1992.
Main Stack N72.S6.D57 v.8

White, Armond and Brunette, Peter
"Flipper Purify and Furious Styles./ Singleton's Street Noises." (Article+Interview). Sight & SoundI/4, Aug 91; p.8-13.
A look at the new wave of African-American films made by Spike Lee, John Singleton among others, plus comments from the latter director on his film "Boyz n the Hood".

Wiegman, Robyn.
"Feminism, 'The Boyz,' and Other Matters Regarding the Male." In: Screening the Male: Exploring Masculinities in Hollywood Cinema / edited by Steven Cohan and Ina Rae Hark. London; New York: Routledge, c1993. pp: 173-93.
Main Stack PN1995.9.M46.S36 1993
Moffitt PN1995.9.M46.S36 1993

Reviews

Ansen, David.
"Boyz N the Hood." (movie reviews) Newsweek v118, n3 (July 15, 1991):56.

Billson, Anne.
"Boyz N the Hood." (movie reviews) New Statesman & Society v4, n174 (Oct 25, 1991):31.

"Boyz N the Hood." (movie reviews)
Time v138, n3 (July 22, 1991):65.

Denby, David.
"Boyz N the Hood." (movie reviews) New York v24, n28 (July 22, 1991):40 (2 pages).

Dwyer, Victor.
"Boyz N the Hood." (movie reviews) Maclean's v104, n30 (July 29, 1991):47.

Grant, Edmond.
"Boyz N the Hood." (movie reviews) Films in Review v43, n1-2 (Jan-Feb, 1992):53 (2 pages).

Kauffmann, Stanley. B
"Boyz N the Hood." (movie reviews) New Republic v205, n10 (Sept 2, 1991):26.

Kermode, Mark.
"Boyz N the Hood." (movie reviews) Sight and Sound v1, n7 (Nov, 1991):37 (2 pages).

Maslin, Janet.
"Boyz N the Hood." (movie reviews) (Living Arts Pages) (movie reviews) New York Times v140 (Fri, July 12, 1991):B1(N), C1(L), col 3, 21 col in.

Salamon, Julie.
"Boyz N the Hood." (movie reviews) Wall Street Journal (Thu, July 18, 1991):A9(W), A9(E), col 1, 11 col in.

Simon, John.
"Boyz N the Hood." (movie reviews) National Review v43, n17 (Sept 23, 1991):54 (2 pages).

Sterritt, David.
"Boyz N the Hood." (movie reviews) Christian Science Monitor v83, n165 (Mon, July 22, 1991):11, col 3, 18 col in.

Travers, Peter.
"Boyz N the Hood." (movie reviews) Rolling Stone, n610 (August 8, 1991):78.

Precious

Alter, Ethan.
"Precious Gem." Film Journal International, Oct2009, Vol. 112 Issue 10, p12-26, 3p
UC users only

Anderson, John.
"Looking Beyond Redemption." America, 11/30/2009, Vol. 201 Issue 16, p21-23, 3p
UC users only

Baum, Bruce.
"Hollywood on Race in the Age of Obama: Invictus, Precious, and Avatar." New Political Science, Dec2010, Vol. 32 Issue 4, p627-636, 10p
UC users only

Cohen, David S.
"Script to Screen: Precious." Script , Nov/Dec2009, Vol. 15 Issue 6, p40-44, 5p
UC users only

Klawans, Stuart
"Survivors." Nation, 11/23/2009, Vol. 289 Issue 17, p42-44, 3p
UC users only

Martin, Paula Puryear.
"The Myth of the Black Audience." Crisis , Winter2010, Vol. 117 Issue 1, p12-15, 4p
UC users only

Morris, Wesley.
"It's a Wonderful Life." Film Comment, Nov/Dec2009, Vol. 45 Issue 6, p32-37, 6p
UC users only

Natividad, Annie C.
"Precious." Journal of Creativity in Mental Health, Jul-Sep2010, Vol. 5 Issue 3, p339-342, 4p
UC users only

Pimpare, Stephen.
"The Welfare Queen and the Great White Hope." New Political Science, Sep2010, Vol. 32 Issue 3, p453-457, 5p
UC users only

Stevens, Isabel
"The Value of 'Precious'." Sight and Sound, vol. 20, no. 2, pp. 11, 2010 Feb
UC users only

Wellington, Darryl Lorenzo.
"Looking For Precious." Crisis , Winter2010, Vol. 117 Issue 1, p26-30, 5p
UC users only

Rosewood

Arsenault, Raymond.
"Rosewood." (movie reviews) Journal of American History v84, n3 (Dec, 1997):1173 (2 pages).

Dye, R. Thomas.
"Rosewood, Florida: The Destruction of an African American Community." Historian v58, n3 (Spring, 1996):605 (18 pages).

Finan, Eileen.
"Delayed Justice: The Rosewood Story." Human Rights v22, n2 (Spring, 1995):8 (3 pages).

Guerrero, Ed.
"Rosewood." (movie reviews) Cineaste v23, n1 (Wntr, 1997):45 (3 pages).

Harrison, Eric.
"A Massacre, the Movies and the Obligations of Memory." (victims of 1923 massacre in Rosewood, Florida finally find recognition through state reparation bill and possible television movie) Los Angeles Times v113 (Sun, Oct 16, 1994):MAG29, col 1, 103 col in.

Maslin, Janet.
"Rosewood." (movie reviews) New York Times v146 (Fri, Feb 21, 1997):B18(N), C18(L), col 5, 16 col in.

Morgenstern, Joe.
"Rosewood." (movie reviews) Wall Street Journal (Fri, Feb 21, 1997):A12(W), A12(E), col 2, 4 col in.

Schickel, Richard.
"Rosewood." (movie reviews) Time v149, n9 (March 3, 1997):83.

Taylor, John.
"The Rosewood Massacre." (Florida lynching in 1923) Esquire v122, n1 (July, 1994):46 (9 pages).

Travers, Peter.
"Rosewood." (movie reviews) Rolling Stone, n756 (March 20, 1997):92.

Weinraub, John.
"Unforgotten ghosts of old terrors awaken." (director John Singleton discusses his latest film, 'Rosewood') (Living Arts Pages) The New York Times Feb 19, 1997 v146 pB1(N) pC11(L) col 1 (27 col in)

Shaft

Henry, Matthew.
"He 'Is' a "Bad Mother*$%@!#": 'Shaft' and Contemporary Black Masculinity." African American Review, Spring2004, Vol. 38 Issue 1, p119-126, 8p
UC users only

Mitchell, Elvis.
"The cat won't cop out when danger's all about." (Living Arts Pages)(movie review) The New York Times June 16, 2000 pB10(N) pE12(L) col 1 (30 col in)

Parisi, Peter.
"When the 'Good One' is 'Baaad': Modern Racism in John Singleton's Shaft." Souls: A Critical Journal of Black Politics, Culture & Society; Apr-Jun2008, Vol. 10 Issue 2, p165, 14p
UC users only

Vineberg, Steve.
"In Reinventing an Icon, 'Shaft' Wises Up a Genre." The Chronicle of Higher Education July 7, 2000 v46 i44 pB10

White, Jack E.
"Why We Now Can't Dig Shaft: A black knight errant is transformed into a thug." (The Arts/Cinema)(Review) Time June 26, 2000 v155 i26 p72 (537 words)

Robert Townsend

Bourne, St. Clair.
"Hollywood's Robin Hood." (Interview). Films & Filming /403, Apr 88; p.20-21. illus.
Robert Townsend on the film industry's narrow range of roles for black actors.

Collier, Aldore.
"Robert Townsend: a new kind of Hollywood dreamer. Actor-producer-director plans to make films that uplift and transform Black audiences." Ebony v46, n8 (June, 1991):102 (3 pages).

Margolis, Harriet.
"Sneaky Re-Views: Can Robert Townsend's Taste for Stereotypes Contribute Positively to Identity Politics?" In: Performing Gender and Comedy: Theories, Texts and Contexts / edited by Shannon Hengen. Amsterdam: Gordon and Breach, c1998. Series title: Studies in humor and gender ; v. 4.
UCB Main PN1922 .P47 1998 199-218.

Nicholson, David.
"Why can't we give black cinema a chance?" Washington Post v110 (Sun, Aug 30, 1987):C1, col 1.

Sharkey, B.
"Knocking on Hollywood's Door."American Film XIV/9, July-Aug 89; p.22-27,52,54. illus.
Reports on the status of black filmmakers in Hollywood, esp. Spike Lee and Robert Townsend, on the release of "Do the right thing".

Sloan, Lester.
"Robert Townsend: role model and regular guy." (motion picture actor) American Visions v8, n1 (Feb-March, 1993):46 (2 pages).

"Townsend, Robert." (African American actor and fimmaker) Current Biography v55, n5 (May, 1994):50 (5 pages).

Robert Townsend: Reviews and Articles About Individual Films

Hollywood Shuffle

Brown, Geoff and Sweet, Louise
"Hollywood Shuffle." (Review+Interview). Monthly Film Bulletin LV/651, Apr 88; p.99-100.
US actor/director Robert Townsend talks about changing black stereotypes in the cinema.

Corliss, Richard
"Hollywood Shuffle." Hollywood shuffle. (movie reviews) Time April 27, 1987 v129 p79(1)

Edelman, Rob
"Hollywood shuffle." (review) Cineaste Vol XVI nr 1-2 (1987-88); p 71-72.

Fein, Esther B.
"Robert Townsend Has Fun at Hollywood's Expense." (new movie Hollywood Shuffle) New York Times v136, sec2 (Sun, April 19, 1987):H18(N), H18(L), col 3, 25 col in.

Kauffmann, Stanley
"Hollywood shuffle." (movie reviews) The New Republic May 4, 1987 v196 p26(1)

Margolis, Harriet
"Stereotypical strategies: black film aesthetics, spectator positioning, and self-directed stereotypes in Hollywood shuffle and I'm gonna git you sucka." Cinema Journal Vol XXXVIII nr 3 (Spring 1999); p 50-66.
UC users only
Discussion of how self-directed stereotypes are used in African American cinema and comparison of the strategies employed in the films: "Hollywood shuffle" and "I'm gonna git you sucka".

Pines, Jim.
"Hollywood Shuffle." (movie reviews) New Statesman v115, n2976 (April 8, 1988):29 (2 pages).

Rochlin, Margy
"Robert Townsend." (Producer-director-star of Hollywood Shuffle) American Film April 1987 v1 p62(2)

Salamon, Julie.
"On Film: The Plastic Fantastic Production Budget. (Robert Townsend; Hollywood Shuffle - movie) Wall Street Journal (Thu, March 19, 1987):28(W), 32(E), col 1, 20 col in.

White, Armond
"Class clowns; Woody Allen and Robert Townsend." Film Comment March-April 1987 v23 p11(4)
Examines the comic treatment of ethnic and racial stereotypes in "Radio days" and "Hollywood shuffle".

Mario and Melvyn Van Peebles

Chaffin-Quiray, Garrett.
"'You Bled My Mother, You Bled My Father, But You Won't Bleed Me': The Underground Trio of Melvin van Peebles." In: Underground U.S.A. : filmmaking beyond the Hollywood canon / edited by Xavier Mendik & Steven Jay Schneider. pp: 96-108 London ; New York : Wallflower Press, 2002. AlterImage.
Main Stack PN1995.9.E96.U34 2002

Coleman, Horace W.
"Melvin Van Peebles." (Interview) Journal of Popular Culture 5:2 (1971:Fall) 368

Donalson, Melvin Burke.
"The Pathmakers: Gordon Parks, Melvin Van Peebles." In: Black directors in Hollywood / Melvin Donalson. Austin : University of Texas Press, 2003.
Full text available online [UC Berkeley users only]

Jaehne, Karen
"Melvin Van Peebles: The Baadasssss Gent Cineaste 18:1 (1990) 4
UC users only

"Melvin Van Peebles."
In: Reflections on blaxploitation : actors and directors speak / [interviewers] David Walker, Andrew J. Rausch, Chris Watson. Lanham, Md. : Scarecrow Press, 2009.
Full text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1995.9.N4 R46 2009

Norment, Lynn.
"10 most intriguing men in Hollywood." Ebony v50, n6 (April, 1995):50 (4 pages).
The ten talented African American men profiled have careers ranging from talk show host, to actor to director-producer of films. The major credits for each is listed with a brief description of their talents. Some such as Denzel Washington have acted for years, others such as Eriq LaSalle are newcomers.

Peavy, Charles D.
"An Afro-american In Paris: The Films of Melvin Van Peebles." Cin?aste 3:1 (1969:Summer) 2

Randolph, Laura B.
"Like father, like son." Ebony v43, n8 (June, 1988):82 (3 pages).

Smith, Shawnee.
"Van Peeblus Still Breaking New Ground." (Melvin Van Peebles) Billboard v110, n28 (July 11, 1998):13.

"Van Peebles, Mario."
Current Biography v54, n11 (Nov, 1993):51 (5 pages).

Van Peebles, Melvin
No identity Crisis: A Father and Son's Own Story of Working Together / Melvin and Mario Van Peebles. New York : Simon & Schuster, c1990.
UCB Bancroft PN1998.3.V36 A3 1990

Mario Van Peebles: Reviews and Articles About Individual Films

New Jack City

(Directed by Mario Van Peebles, 1991)

Baker, Laura.
"Screening Race: Responses to Theater Violence at New Jack City and Boyz N the Hood." Velvet Light Trap. 44: 4-19. 1999 Fall.
UC users only

Baraka, Amiri.
"Amiri Baraka on New Jack City." Cineaste vol. 18 no. 3, 1991

Chan, Kenneth
"The Construction of Black Male Identity in Black Action Films of the Nineties." Cinema Journal, Vol. 37, No. 2. (Winter, 1998), pp. 35-48.
UC users only

Denby, David.
"New Jack City." (movie reviews) New York v24, n15 (April 15, 1991):65.

Kauffmann, Stanley.
"New Jack City." (movie reviews) New Republic v205, n6 (August 5, 1991):26.

Leland, John.
"Night of the Living Crackheads; Violence On and Off-screen at 'New Jack City.' (violence at movie theaters) Newsweek v117, n12 (March 25, 1991):52.

Newman, Kim.
"New Jack City." (movie reviews) Sight and Sound v1, n5 (Sept, 1991):41 (2 pages).

Pelecanos G.
"New Jack City." (movie reviews) Cineaste, 1991, V18 N3:49-51.

Phillips, Mike.
"New Jack City." (movie reviews) TLS. Times Literary Supplement, n4614 (Sept 6, 1991):19.

Rogers, Richard A.
"Pleasure, Power, and Consent: The Interplay of Race and Gender in New Jack City." Women's Studies in Communication vol. 16 no. 2, 1993 Fall

Smith-Shomade, Beretta E.
"'Rock-A-Bye, Baby!' Black Women Disrupting Gangs and Constructing Hip-Hop Gangsta Films.: Cinema Journal. 42 (2): 25-40. 2003 Winter.
UC users only

Winokur, M.
"Eating Children Is Wrong" (Examining The Business Of Mob Movies, From 'Scarface' To 'New Jack City') Sight And Sound, 1991 Nov, V1 N7:10-13. .

Panther

Corliss, Richard.
"Power to the peephole." (criticism of movie 'Panther') Time v145, n20 (May 15, 1995):73.

Gilliam, Dorothy.
"Black history in the eye of the beholder." (reflections on the movie "Panther")(Column) Washington Post v118 (Sat, June 3, 1995):B1, col 1, 19 col in.

Harvey, Dennis.
"All Power to the People!: The Black Panther Party and Beyond." (movie reviews) Variety v368, n11 (Oct 20, 1997):71 (2 pages).

Hoerl, Kristen
"Mario Van Peebles's Panther and Popular Memories of the Black Panther Party." Critical Studies in Media Communication, Volume 24 Issue 3 2007 Pages 206 227
UC users only

Leiby, Richard.
"Black out: what a new movie about the Black Panthers remembers -and what it forgets." ('Panther,' directed by Mario Van Peebles) Washington Post v118 (Sun, April 30, 1995):G1, col 2, 60 col in.

Lipman, Amanda.
"Panther." (movie reviews) Sight and Sound v5, n12 (Dec, 1995):49 (2 pages).

Maslin, Janet.
"Panther." (movie reviews) New York Times v144 (Wed, May 3, 1995):B3(N), C18(L), col 1, 22 col in.

McCarthy, Todd.
"Panther." (movie reviews) Variety v359, n1 (May 1, 1995):35 (2 pages).

Panther: an interview with Mario Van Peebles.(Interview) Tikkun v10, n4 (July-August, 1995):20 (6 pages).

Robinson, Michael.
"The Van Peebleses prowl through the Panthers' history." (making of the film, 'Panther': includes a related article on Stokley Carmichael and the coining of the term "black panther")(Cover Story) American Visions v10, n2 (April-May, 1995):16 (3 pages).

Travers, Peter.
"Panther." (movie reviews) Rolling Stone, n708 (May 18, 1995):95 (2 pages).

Melvyn Van Peebles: Reviews and Articles About Individual Films

Sweet Sweetback's Baad Asssss Song

Bates, C. E. J.
"Sweetback's 'Signifyin(g)' Song: Mythmaking in Melvin Van Peebles' "Sweet Sweetback's Baadasssss Song". Quarterly Review of Film and Video v. 24 no. 2 (2007)
UC users only
"Melvin Van Peebles's film Sweet Sweetback's Baadasssss Song (1971) exemplifies the presence of myths in African-American culture and offers an effective example of the use of distinctly African-American semiotic codes. Many film historians view this as the first film to fully fit within the "blaxploitation" genre, and in many ways it represents a positive step forward for African Americans in film. By skillfully employing the popular African-American myths of the "Badman" and the "Trickster," as well as the vernacular trope referred to by literary scholar Henry Louis Gates, Jr. as "Signifyin(g)," this film embodies key aspects of African-American culture while simultaneously illustrating the social and historical climate of the early 1970s. Although Sweetback appropriates many of the codes of white action and Western film narratives, it uses distinctly African-American codes to subvert the mainstream origins of its narrative structure." [Art Index]

Broaddus, Dorothy C.
"Exposing Himself: Sweet Sweetback's Body." Paragraph: A Journal of Modern Critical Theory. 26 (1-2): 213-21. 2003 Mar-July.

Cripps, Thomas.
"Sweet Sweetback's Baadasssss Song and the Changing Politics of Genre Film." In: Close Viewings: An Anthology of New Film Criticism / edited by Peter Lehman. Tallahassee: Florida State University Press ; Gainesville, FL, c1990. pp: 238-61.
Main Stack PN1995.C543 1990

Dunn, Stephane.
"What's sex and women got to do with it? : sexual politics and revolution in Sweetback and The spook ." In: "Baad bitches" and sassy supermamas : Black power action films / Stephane Dunn. Urbana : University of Illinois Press, c2008.
Main (Gardner) Stacks) PN1995.9.N4 D86 2008

Eshen, Kodwo
"Escaping the Genre Ghetto." Sight & Sound v. ns15 no. 6 (June 2005) p. 8
The writer discusses the 1971 independent film, Sweet Sweetback's Baad Asssss Song, focusing in particular on the class, gender, and aesthetic tensions that the film crystallized back in the 1970s."

Grant, W. R.
"The Big Break and a Hero Named Sweetback." " In: Post-soul Black cinema : discontinuities, innovations, and breakpoints, 1970-1995 New York : Routledge, 2004.
MAIN: PN1995.9.N4 G69 2004
Table of contents http://www.loc.gov/catdir/toc/ecip047/2003017036.html

Hartmann, Jon.
"The Trope of Blaxploitation in Critical Response to Sweetback." Film History 1994 6(3): 382-404.
UC users only
"Compares evalutions of Melvin Van Peebles's 1971 film Sweet Sweetback's Baadassss Song that appeared in the alternative and leftist press, in movie industry publications, and in mainstream and black newspapers following its release, along with one 1982 academic treatise, and considers whether Van Peebles's film degrades and exploits the black community or presents a positive challenge to filmic stereotypes of blacks." [from ABC-CLIO America: History & Life]

Holden, Stephen.
"Sweet Sweetback's World Revisited: The Blaxploitation films of the 70's leavened black anger and misery with an antic sense of humor." (New York City's Film Forum series, 'Blaxploitation, Baby!' features films from... New York Times v144, sec2 (Sun, July 2, 1995):H9(N), H9(L), col 1, 15 col in.

Holmlund, C.
"Wham! Bam! Pam! Pam Grier as Hot Action Babe and Cool Action Mama." Quarterly Review of Film and Video v. 22 no. 2 (April/June 2005) p. 97-112
"Part of a special cultural studies issue of the Quarterly Review of Film and Video. A discussion of the work of actress Pam Grier in terms of femininity/masculinity and race. Grier, now aged 54, is a cultural icon, famous for her roles in 1970s blaxploitation films and a salutary counter model to the white "hard body hardware heroines" of the 1980s. In her transition from a "hot action babe" in the 1970s to a "cool action mama" in the present, Grier's casting, characters, and performances are centered on three key contradictions: Kick ass and in control, she is nonetheless frequently positioned as beautiful spectacle; articulating Black power and proto- or quasi-feminist positions in the 1970s, she simultaneously functions as exotic "other"; connected to the family and often figuring as an "icon of home," many of the 1970s but none of the 1980s films and few of the 1990s films also reference queer sexualities." [Art Index]

Howell, Amanda
"Spectacle, masculinity, and music in blaxploitation cinema." Screening the Past, 14 July 2005

James, Darius.
That's Blaxploitation!: Roots of the Baadasssss 'tude (Rated X by an All-Whyte Jury) / Darius James. New York: St. Martin's Griffin, c1995.
UCB Main PN1995.9.N4 J35 1995

Jones, Norma R.
"Sweetback: The Black Hero and Universal Myth." College Language Association Journal, vol. 19. 1976. pp: 559-65.

King, Geoff
"Alternative Visions: Black Independent Cinema." In: American independent cinema / Geoff King. Bloomington : Indiana University Press, c2005.
Full text available online [UCB users only]
Main (Gardner) Stacks PN1993.5.U6 K465 2005
Pacific Film Archive PN1993.5.U6 K465 2005

Lyons, Nancee L.
"From Race Movies to Blaxploitation to Homeboy Cinema." (evolution of African American films by African American filmmakers) American Visions v7, n1 (Feb-March, 1992):42 (2 pages).

McDonagh, Maitland
"The Exploitation Generation. or: How Marginal Movies Came in from the Cold." In: The last great American picture show: new Hollywood cinema in the 1970s
Edited by Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam : Amsterdam University Press, 2004.
Full text available online [UCB users only]
Main (Gardner) Stacks PN1993.5.U65 L38 2004
Pacific Film Archive PN1993.5.U65 L37 2004

Morris, Gary.
"Blaxploitation, A Sketch." Bright Lights Journal (March 1997)

Phillips, Mike.
"Chic and Beyond." (blaxploitation movies) Sight and Sound v6, n8 (August, 1996):25 (3 pages).

Reid, Mark A.
"The Black Action Film: The End of the Patiently Enduring Black Hero." Film History Vol. 2, No. 1 (Winter, 1988), pp. 23-36
UC users only

Robinson, Cedric J.
"Blaxploitation and the misrepresentation of liberation." (motion pictures; Black representation)(Cover Story) Race and Class July-Sept 1998 v40 n1 p1(12)
"The motion picture industry is going through a second period of Blaxploitation, which is a misrepresentation of the Black liberation struggle and exploitation of black actors. The first period of Blaxploitation occurred in 1969-75 when the Black liberation movement was going through its most militant phase. Films of the era include 'Shaft' and 'Slaughter', and black actors included Sidney Poitier and Pam Grier. The genre included a sub-type of the Bad Black Woman." [Expanded Academic Index]

Turner, Darwin T.
Visions of Love and Manliness in a Blackening World: Dramas of Black Life Since 1953." Black Scholar 1995 25(2): 2-12.
"Examines works by American playwrights Louis Peterson, Lorraine Hansberry, James Baldwin, LeRoi Jones (Imamu Amiri Baraka), Ed Bullins, Lonne Elder, Charles Gordone, and Melvin Van Peebles to show the way various concepts of the "good life," love, and manhood and manliness were treated in traditional and "Black Arts" dramas from 1953 to 1973." [from ABC-CLIO America: History & Life]

Van Peebles, Melvin
The Making of Sweet Sweetback's Baadasssss Song. [New ed.]. New York, Lancer Books [1972, c1971].
UCB Main PN1997.S9 V3 1972

Reviews and Articles About Individual Films

Ali

(Michael Mann, 2001)

Abdel-Shehid, Gamal.
"Muhammad Ali: America's B-Side." Journal of Sport & Social Issues, Aug2002, Vol. 26 Issue 3, p317-325, 9p

Barra, Allen
"Michael Mann and Will Smith in the ring with Ali." (The New Season/Film)(Muhammad Ali) . The New York Times Sept 9, 2001 pAR56(N) pAR56(L) col 1 (50 col in)

Berkmann, Marcus
"Ali." (Cinema: man and myth). Spectator Feb 16, 2002 v288 i9054 p50(2) (777 words)

Cagle. Jess
"Lord Of The Ring: Muhammad Ali and Will Smith Turn the Champ's Life Into a Movie as Stirring--and Complex--as the Man." (The Arts/Cinema) Time Dec 24, 2001 v158 i27 p68+ (1576 words)

Denby, David
"Good fights." (three motion pictures) The New Yorker Dec 24, 2001 v77 i41 p124(4)

Doyle, Kegan
"Muhammad Goes to Hollywood: Michael Mann's "Ali" as Biopic." Journal of Popular Culture 39:3 (June 2006) p. 383-406
UC users only
"The article focuses on how Michael Mann's film "Ali" (2001) tells the story of Muhammad Ali and also looks at what that story leaves out. Ali was not the political individualist that this film depicts. The author examines the film's background, its director, screenwriters, star, and sources, and shows how, like a classic Hollywood hitbiopic, "Ali" was destined to be politically unthreatening. The next section demonstrates how the movie closely follows the conventions of the genre. The author draws on George Custen's theorization of the hitbiopic genre. The final two sections discuss what the film excludes, in particular Ali's relationship to the Nation of Islam (NOI) and the troubling politics of the "Rumble in the Jungle," the event that the film positions as the climax of Ali's career." [ProQuest]

Dzenis, Anna.
"Impressionist Extraordinaire: Michael Mann's Ali." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 19: (no pagination). 2002 Mar-Apr.

Farred, Grant.
"Ali was a bad man once, and now again." (motion picture 'Ali') The Chronicle of Higher Education Jan 11, 2002 v48 i18 pB17(2)

Goldberg, Jonah
"'Ali! Ali!'": How they interpret the champ." National Review Jan 28, 2002 v54 i1 pNA (1214 words)

Grindon, Legar
"Ali." (Film Reviews). Cineaste Spring 2002 v27 i2 p32(3) (1663 words)
UC users only

Haun, Harry
"Michael Mann directs will Smith as legendary ali: From insider to ringsider." (Brief Article) Film Journal International Jan 2002 v105 i1 p10(2) (1084 words)

Kerr, Philip
"Blow by blow: Philip Kerr on how a biopic of the legendary boxer and black icon fails to pack a punch." (Film). (Ali) New Statesman (1996) Feb 11, 2002 v131 i4574 p43(2) (832 words)

Klawans, Stuart
"In This Corner..." (movie review) The Nation Jan 21, 2002 v274 i2 p35 (1741 words)

McCarthy, Todd
"Ali." (Reviews: no sweat on Mann-made `Ali'). (movie review)Variety, Dec 17, 2001 v385 i5 p35(2)
UC users only

McKissack, Fred Jr.
"Ali: forebears but no heirs." (In the Mix). The Progressive Feb 2002 v66 i2 p36(3) (2047 words)
UC users only

Mitchell, Elvis
"Master of the boast, king of the ring, vision of the future." ('Ali')(Living Arts Pages) The New York Times Dec 25, 2001 pE1(N) pE1(L) col 3 (35 col in)

Schickel. Richard
"An Epic Light on Its Feet." (The Arts/Cinema/Film Review)_(movie review) Time Dec 24, 2001 v158 i27 p73 (557 words)
UC users only

Thompson, Clifford.
"Ali." Film Quarterly Summer 2002 v55 i4 p46(3)
UC users only

Wootton, Adrian.
"The Big Hurt." Sight and Sound. 12 (3): 16-18. 2002 Mar.
Ali" is a film primarily focusing on politics and popular history. It deals with the politics of race, religion, sports and Vietnam. It doesn't quite fulfill its ambitions but it may be the most convincing portrayal of boxing on film.

Wrathall, John
"Ali." (Film Reviews). Sight and Sound March 2002 v12 i3 p34(2)

Armistad

(Steven Spielberg, 1997)

Beloved

(Jonathan Demme, 1998)

SEE Jonathan Demme Bibliography

Birth of a Nation

(D.W. Griffith, 1915)

Bamboozled

(Spike Lee)

Boyz in the Hood

(John Singleton, 1991)

Brother From Another Planet

(John Sayles, 1987)

Bould, Mark
"The False Salvation of the Here and Now: Aliens, Images, and the Commodification of Desire in The Brother from Another Planet." In: Sayles talk : new perspectives on independent filmmaker John Sayles / edited by Diane Carson and Heidi Kenaga. Detroit : Wayne State University Press, c2006.
Main Stack PN1998.3.S3.S28 2006
PFA PN1998.3.S3.S28 2006 Carson, Diane (ed.); Kenaga, Heidi (ed. and introd.). (2006). Sayles Talk: New Perspectives on Independent Filmmaker John Sayles. (pp. 79-102). Detroit, MI: Wayne State UP, viii, 285 pp. View Record |

Boyd, Melba.
"But Not the Blackness of Space: The Brother from Another Planet as Icon from the Underground." Journal of the Fantastic in the Arts (JFA), vol. 2 no. 2. 1989 Summer. pp: 95-107.

Ellis, Caron Schwartz.
"With Eyes Uplifted: Space Aliens as Sky Gods." In: Screening the Sacred: Religion, Myth, and Ideology in Popular American Film / edited by Joel W. Martin, Conrad E. Ostwalt, Jr. pp: 83-93 Boulder: Westview Press, 1995.
Main Stack PN1995.5.S36 1995

Guerrero, Ed
"The Slavery Motif in Recent Popular Cinema." Jump Cut /33, Feb 88; p.52-59.
Analyses the ideology of the 'Black' Experience in "The Color Purple" and "Brother from Another Planet".

Subramanian, Janani.
"Alienating identification: Black identity in The Brother from Another Planet and I Am Legend." Science Fiction Film and Television Volume 3, Issue 1, Spring 2010 pp. 37-55
UC users only

Thompson, Cliff
"The Brother From Another Race. Black Characters in the Films of John Sayles." Cineaste XXII/3, Dec 96; p.32-33. Discusses the sympathy and insight in John Sayles' depictions of black characters throughout his film career.

West, Dennis and Joan M. West
"Borders and Boundaries: An Interview with John Sayles." Cineaste v22, n3 (Summer, 1996):14 (4 pages)

Bulworth

Cabin in the Sky

See Vincente Minnelli bibliography

Clockers

(Spike Lee)

Color Purple

Crash

Alleva, Richard.
"Skin Deep." Commonweal. Jun 3, 2005. Vol. 132, Iss. 11; p. 26 (2 pages)

Boyd, Melba Joyce (2007)
"Collateral Damages Sustained in the Film Crash." Souls, 9:3, 253 - 265
UC users only

Crash politics and antiracism : interrogations of liberal race discourse
Edited by Philip S.S. Howard and George J. Sefa Dei. New York : Peter Lang, c2008.
Main Stack HT1521.C72 2008

Denby, David.
"Crash." New Yorker, 6/13/2005, Vol. 81 Issue 17, p46-46, 1/9p

Farris, Christine. College English.
"Crash Course: Race, Class, and Context." College English. Mar 2007. Vol. 69, Iss. 4; p. 354 (6 pages)
UC users only

Giroux, Susan Searls and Giroux, Henry A.
"Don't Worry, We are all Racists!" Third Text, 21:6, 745 - 759 (2007)
UC users only

Haun, Harry.
"Crash."Film Journal International, May2005, Vol. 108 Issue 5, p35-35, 2/3p
UC users only

Holmes, David G.
"SYMPOSIUM: Paul Haggis's Crash: The Civil Rights Movement According to Crash: Complicating the Pedagogy of Integration." College English. Mar 2007. Vol. 69, Iss. 4; p. 314 (7 pages)
UC users only

Hsu, Hsuan L.
"Racial Privacy, the L.A. Ensemble Film, and Paul Haggis's Crash." Film Criticism, Fall/Winter2006, Vol. 31 Issue 1/2, p132-156, 25p
UC users only

Katz, Wallace.
"Crash: Film Noir in Post-Modern LA." New Labor Forum. Spring 2006. Vol. 15, Iss. 1; pg. 121, 6 pgs

Kinefuchi, Etsuko and Orbe, Mark P.
"Situating Oneself in a Racialized World: Understanding Student Reactions to Crash through Standpoint Theory and Context-Positionality Frames." Journal of International and Intercultural Communication, 1:1, 70 - 90 (2008)
UC users only

Middleton, Joyce Irene.
"SYMPOSIUM: Talking about Race and Whiteness in Crash." College English. Mar 2007. Vol. 69, Iss. 4; p. 321 (14 pages)
UC users only

Nunley, Vorris L.
"SYMPOSIUM: Crash: Rhetorically Wrecking Discourses of Race, Tolerance, and White Privilege." College English. Mar 2007. Vol. 69, Iss. 4; p. 335 (12 pages)
UC users only

Oatley, Keith
"The Bridge Between Us." PsycCRITIQUES. Vol 50 (33), 2005, pp. [np]
UC users only

Orbe, Mark P. and Kinefuchi, Etsuko
"Crash Under Investigation: Engaging Complications of Complicity, Coherence, and Implicature Through Critical Analysis." Critical Studies in Media Communication, 25:2, 135 - 156 (2008)
UC users only

Prendergast, Catherine
"SYMPOSIUM: Short Takes: Asians: The Present Absence in Crash." College English. Mar 2007. Vol. 69, Iss. 4; p. 347 (2 pages)
UC users only

Ray, Sangeeta.
"Crash or How White Men Save the Day, Again." College English. Mar 2007. Vol. 69, Iss. 4; p. 350 (5 pages)
UC users only

Sicinski, Michael.
"Crash." Cineaste, Fall2005, Vol. 30 Issue 4, p51-52, 2p
UC users only

Stewart, Jane Alexander
"Crash: A Transformative Experience." Jung Journal: Culture and Psyche Spring 2007, Vol. 1, No. 2, Pages 5564
UC users only

Villanueva, Victor.
"3D Stereotypes: Crash." College English. Mar 2007. Vol. 69, Iss. 4; p. 348 (3 pages)
UC users only

Crooklyn

(Spike Lee)

Devil in a Blue Dress

Eve's Bayou

Brown, Ann.
"Eve's Bayou." (movie reviews) American Visions v12, n5 (Oct-Nov, 1997):39 (1 page).

Grayson, Sandra M.
Symbolizing the past: reading Sankofa, Daughters of the Dust, & Eve's Bayou as histories Lanham, MD : University Press of America, c2000.
MAIN: PN1995.9.N4 G73 2000

Ellison, Mary.
"Echoes of Africa in "To Sleep With Anger" and "Eve's Bayou."" African American Review, Spring/Summer2005, Vol. 39 Issue 1/2, p213-229, 17p
UC users only

Holden, Stephen.
"Eve's Bayou." (movie reviews) New York Times v147 (Fri, Nov 7, 1997):B12(N), E14(L), col 4, 22 col in.

Mask, Mia L.
'Eve's Bayou': too good to be a 'black' film?(Race in Contemporary American Cinema, part 9)(motion picture by director Kasi Lemmons) Cineaste v23, n4 (Fall, 1998):26 (2 pages).

"Eve's Bayou." (Review) (video recording reviews) Audio v83, n1 (Jan, 1999):98 (1 page).

Muhammad, Erika.
"Kasi Lemmons: the woman behind "Eve's Bayou."(woman filmmaker and actor)(Interview) Ms. Magazine v8, n5 (March-April, 1998):74 (2 pages).

Rochlin, Margy.
"Tough guy finds his warm and fuzzy side." (actor Samuel L. Jackson plays against type in 'Eve's Bayou') New York Times v147, sec2 (Sun, Nov 2, 1997):AR17(N), AR17(L), col 1, 38 col in.

Rueschmann, Eva
"Sisters, Fathers, and the Modern Ethnic Family: Double Happiness and Eve's Bayou." In: Sisters on screen : siblings in contemporary cinema / Eva Rueschmann. Philadelphia : Temple University Press, 2000.
Main (Gardner) Stacks PN1995.9.S55 R84 2000

Smollett, Jurnee; Lemmons, Casi; Morgan, Debbi.
"Eve's Bayou." (movie reviews) Time v150, n15 (Oct 13, 1997):88 (1 page).

Wardi, Anissa Janine
"Wetlands, swamps, and bayous: bodies of resistance in Kasi Lemmons's Eve's bayou and Toni Morrison's Tar baby." In: Water and African American memory : an ecocritical perspective / Anissa Janine Wardi. Gainesville : University Press of Florida, c2011.
Main (Gardner) Stacks PS153.N5 W344 2011

Williams, Lena.
"Calm child at the center of an adult storm." (Jurnee Smollett stars in movie, 'Eve's Bayou') New York Times v147, sec2 (Sun, Nov 2, 1997):AR18(N), AR18(L), col 3, 12 col in.

Ghosts of Mississippi

(Rob Reiner, 1996)

Corliss, Richard.
"Ghosts of Mississippi." (movie reviews) Time v148, n29 (Dec 30, 1996):140 (2 pages).

Denby, David.
"Ghosts of Mississippi." (movie reviews) New York v30, n1 (Jan 13, 1997):46.

Maslin, Janet.
"Ghosts of Mississippi." (movie reviews) New York Times v146 (Fri, Dec 20, 1996):B6B(N), C14(L), col 4, 14 col in.

Morgenstern, Joe.
"Ghosts of Mississippi." (movie reviews) Wall Street Journal (Fri, Dec 20, 1996):A14(W), A14(E), col 1, 8 col in.

Sitkoff, Harvard.
"Ghosts of Mississippi." (movie reviews) Journal of American History v84, n3 (Dec, 1997):1177 (2 pages).

Sterritt, David.
"Ghosts of Mississippi." (movie reviews) Christian Science Monitor v89, n19 (Fri, Dec 20, 1996):12, col 3, 11 in.

Travers, Peter.
"Ghosts of Mississippi." (movie reviews) Rolling Stone, n753 (Feb 6, 1997):54.

Morris, Willie.
The Ghosts of Medgar Evers: A Tale of Race, Murder, Mississippi, and Hollywood / Willie Morris. 1st ed. New York: Random House, c1998.
UCB Moffitt PN1997.G447 M67 1998
UCB Morrison PN1997.G447 M67 1998

Vollers, Maryanne.
Ghosts of Mississippi: The Murder of Medgar Evers, the Trials of Byron de la Beckwith, and the Haunting of the New South / Maryanne Vollers. 1st ed. Boston: Little, Brown, c1995.
UCB Law Lib KF224.B42 V64 1995
UCB Moffitt F349.J13 V65 1995)

Glory

(Edward Zwick, 1989)

Berlin I.
"Glory." Radical History Review, 1992 Spring, N53:141-148.

Blight, David W.
"The meaning or the fight: Frederick Douglas and the memory of the Fifty Fourth Massachusetts." Massachusetts Review, Spring95, Vol. 36 Issue 1, p141, 13p
UC users only

Burgoyne, Robert
"Race and Nation in Glory." In: Film nation : Hollywood looks at U.S. history / <1997> Minneapolis : University of Minnesota Press, c1997.
MAIN: PN1995.9.H5 B87 1997
MOFF: PN1995.9.H5 B87 1997
PFA : PN1995.9.H5 B87 1997

Collins, Glenn.
"Glory Resurrects its Black Heroes." (Matthew Broderick and Morgan Freeman star in film about Black regiment during the Civil war; Edward Zwick directs) New York Times v138, sec2 (Sun, March 26, 1989):H1(N), H1(L), col 1, 58 col in.

Culbertson D.
"Aint-Nobody-Clean, The Liturgy Of Violence In Glory." (Self-Sacrificing Racial Violence In Zwick,Edward Film) Religion & Literature, 1993 Summer, V25 N2:35-52.

Davies, Jude.
"Glory: African American History as Male Rites of Passage." In: Gender, Ethnicity and Sexuality in Contemporary American Film / Jude Davies and Carol R. Smith. pp: 71-81. Edinburgh : Keele University Press, 1997. BAAS paperbacks
Main Stack PN1995.9.M64.D38 1997

Doherty T.
"Glory." Cineaste, 1990, V17 N4:40-41.

Haspel, Paul
"Antietam, James Island, and Fort Wagner: The Battle Sequences in Edward Zwick's Glory." Studies in Popular Culture, vol. 30, no. 1, pp. 65-85, Fall 2007

Jacobs D.
"Glory." Public Historian, 1990 Summer, V12 N3:159-161.

Poole, W. Scott
"Ain't Nobody Clean?: Glory! and the Politics of Black Agency." In: Memory and myth : the Civil War in fiction and film from Uncle Tom's cabin to Cold mountain / edited by David B. Sachsman, S. Kittrell Rushing, Roy Morris, Jr. West Lafayette, Ind. : Purdue University Press, c2007.
Main Stack PS374.C53.M46 2007

Pym, John
"Glory." Sight & Sound, 1990 Spring, V59 N2:135-135.

Seidenberg, Robert.
"Glory: Thirtysomething's Edward Zwick Goes to War - the Civil War." (director discuss production of the film "Glory") American Film v15, n4 (Jan, 1990):58.

Stoddard, Jeremy, Marcus, Alan
"The Burden of Historical Representation: Race, Freedom, and "Educational" Hollywood Film." Film & History; May2006, Vol. 36 Issue 1, p26-35, 10p
UC users only

Van Gelder, Lawrence.
"Director of Glory." (Edward Zwick) (Living Arts Pages) (column) New York Times v139 (Fri, Dec 15, 1989):B4(N), C18(L), col 1, 11 col in.

White, Armond.
"Fighting Black." (interview with Ed Zwick, director of motion picture "Glory") (interview) Film Comment v26, n1 (Jan-Feb, 1990):22 (5 pages).

Gone With the Wind

(Directed by Victor Fleming, et al., 1939)

Antillano, Laura. Leonard, Kathy S. (translator).
"Gone with the Wind." In: The movies : texts, receptions, exposures / edited by Laurence Goldstein and Ira Konigsberg. pp: 240-43. Ann Arbor : University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996

Antolini, Katherine Lane
"Scarlett O'Hara as Confederate Woman." West Virginia University Philological Papers, vol. 51, pp. 23-35, 2004
UC users only

Bridges, Herb
The filming of Gone with the wind Macon, Ga.: Mercer University Press, c1998.
MAIN: PN1997.G59 B74 1998

Bridges, Herb
Gone with the wind : the three-day premiere in Atlanta Macon, Ga. : Mercer University Press, c1999.
MAIN: PN1997.G59 B765 1999

Briley, Ron
Hollywood's Reconstruction and the Persistence of Historical Mythmaking." History Teacher; Aug2008, Vol. 41 Issue 4, p453-468, 16p
UC users only

Brown, Tom
"Spectacle/Gender/History: The Case of Gone with the Wind." Screen, vol. 49, no. 2, pp. 157-178, Summer 2008
UC users only

Burks, Ruth Elizabeth.
"Gone with the Wind: Black and White in Technicolor." Quarterly Review of Film and Video. 21 (1): 53-73. 2004 Jan-Mar.

Cripps, Thomas.
"Winds of Change: Gone with the Wind and Racism as a National Issue." In: Recasting : "Gone with the wind" in American culture / edited by Darden Asbury Pyron. pp: 137-152. Miami : University Presses of Florida, c1983.
Main Stack PS3525.I972.G687 1983
Moffitt PS3525.I972.G687 1983

Curran, Trisha.
"Gone with the Wind: An American Tragedy."The Southern Quarterly, vol. 19 no. 3-4. 1981 Spring-Summer. pp: 47-57.

Dagle, Joan.
"The Representation of Race and Sexuality: Visual and Musical Construction in Gone with the Wind." Post Script, vol. 13 no. 2. 1994 Winter-Spring. pp: 14-27.

Deer, Harriet A.; Deer, Irving.
"Women as Outsiders in the Movies and Television." In: The aching hearth : family violence in life and literature / edited by Sara Munson Deats and Lagretta Tallent Lenker. pp: 269-81. New York : Insight Books, 1991.
Main Stack PR149.F34.A64 1991

Drake, Robert.
"The Book, the Movie, the Dream." Mississippi Quarterly. 44(2):183-92. 1991 Spring

George, Cynthia.
"From Innocence to Grandeur: The Costumes of 'Gone with the Wind'." Library Chronicle of the University of Texas. 36:33-55. 1986

Gone With the Wind as Book and Film
Compiled and edited by Richard Harwell. 1st ed. Columbia, S.C.: University of South Carolina Press, c1983.
UCB Main PS3525.I972 G6831 1983

Harmetz, Aljean.
On the Road to Tara: The Making of Gone with the Wind / Aljean Harmetz. New York: H.N. Abrams, 1996.
UCB Main PN1997.G59 H36 1996
UCB Moffitt PN1997.G59 H36 1996

Hawkins, Harriet.
"Shared Dreams: Reproducing Gone with the Wind." In: Novel images : literature in performance / edited by Peter Reynolds. pp: 122-38. London ; New York : Routledge, 1993.
Main Stack PN1995.3.N68 1993

Leff, Leonard J.
"David Selznick's Gone With the Wind: 'The Negro Problem'." The Georgia Review, vol. 38 no. 1. 1984 Spring. pp: 146-164.
"When he undertook filming of Margaret Mitchell's best-selling novel, David O. Selznick insisted that he would be as faithful as possible to the book. However, he recognized that the depiction of blacks in the film might prove controversial, so he created a file under the title, "The Negro Problem." Selznick was right to be concerned - as filming progressed, black leaders increasingly registered their objections to the movie's portrayal of blacks. Consequently, Selznick made both major and minor changes in his script: most notably, the removal of the Klan and the word "nigger." Upon the film's release, Gone With the Wind was accepted by the black population." [from ABC-CLIO: America: History and Life]

Leff, Leonard J.
"Gone With the Wind and Hollywood's Racial Politics: Making Gone With the Wind meant dealing with fierce criticism from black newspapers and public officials." Atlantic Monthly v284, n6 (Dec, 1999):106.

Leff, Leonard J.
"The Search for Hattie McDaniel." New Orleans Review, vol. 10 no. 2-3. 1983 Summer-Fall. pp: 91-98.

Lozano Moreno, Susana.
"Romance & Melodrama: Feminine Genres Reputed as Trash: Gone with the Wind: The Study of a Case." Grove: Working Papers on English Studies. 5:57-70. 1998

Maginnis, Hayden B. J.
"The Trouble with Scarlett." Queen's Quarterly. 102(3):641-53. 1995 Fall

Maland, Charles.
"Movies and American Culture in the Annus Mirabilis: Gone With the Wind." In: American cinema of the 1930s : themes and variations / edited by Ina Rae Hark. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 A85735 2007

Myrick, Susan.
White Columns in Hollywood: Reports From the GWTW Sets / by Susan Myrick; edited with an introduction by Richard Harwell. Macon, Ga.: Mercer University Press, c1982.
UCB Main PN1997.G59 .M9 1982

Pauly, Thomas H.
"Gone with the Wind and The Grapes of Wrath as Hollywood Histories of the Depression." In: Movies as artifacts : cultural criticism of popular film / edited by Michael T. Marsden, John G. Nachbar, and Sam L. Grogg, Jr. pp: 164-176. Chicago : Nelson-Hall, c1982
Main Stack PN1993.5.U6.M67 1982
Moffitt PN1993.5.U6.M67 1982

Recasting: "Gone With the Wind" in American Culture
Edited by Darden Asbury Pyron. Miami: University Presses of Florida, c1983.
Main Stack PS3525.I972.G687 1983
Moffitt PS3525.I972.G687 1983

Richardson, Riché.
"Mammy's "mules" and the rules of marriage in Gone with the Wind." In: American cinema and the southern imaginary / edited by Deborah E. Barker and Kathryn McKee. Athens : University of Georgia Press, c2011.
Main (Gardner) Stacks New books PN1995.9.S66 A44 2011

Robinson, David Maurice.
"Gone with the Wind: 1939." Sight and Sound, Feb 2004 v14 i2
"Gone with the Wind" is the most profitable film in history which received eight Oscar awards for Best Screenplay writing, Bets Film Editing, Best Director, Best Cinematography, Best Art Direction, Best Supporting Actress, Best Actress. It also received a Technical Achievement Award and a special award for Production designing out the 13 nominations in Academy Awards ceremony of 1939.

Selcer, Richard F.
"Home Sweet Movies: From Tara to Oz and Home Again." Journal of Popular Film and Television 1990 18(2): 52-63.
Two of the best-loved films of all time - The Wizard of Oz and Gone with the Wind, both released in 1939 - derive much of their original and continuing popularity from an emphasis on the idea of home

Shumway, David R.
"Power Struggles: Casablanca and Gone with the Wind." In: Modern love : romance, intimacy, and the marriage crisis / David R. Shumway. New York : New York University Press, c2003.
Full text available online (UCB users only)
Main (Gardner) Stacks HQ503 .S54 2003

St. John, Maria.
"'It Ain't Fittin": Cinematic Contours of Mammy in Gone with the Wind and Beyond." Qui Parle: Literature, Philosophy, Visual Arts, History. 11(2):127-36. 1999 Fall-Winter

Stevens, John D.
"The Black Reaction to Gone With the Wind" Journal of Popular Film 1973 2(4): 366-372.
Describes the reaction of Negro organizations and publications, especially the National Association for the Advancement of Colored People, to the stereotypes of black slaves as depicted in the film Gone With The Wind (1939).

Stokes, Melvyn.
"Crises in History and the Response to Them as Illustrated in The Birth of a Nation and Gone with the Wind." La Licorne. 36:67-77. 1996. Poitiers, France

Sturtevant, Victoria.
"'But Things Is Changin' Nowadays an' Mammy's Gettin' Bored': Hattie McDaniel and the Culture of Dissemblance." Velvet Light Trap. 44:68-79. 1999 Fall

Taylor, Helen.
"Anniversaries, Sequels and Bandwagons: Gone with the Wind, 1989-1991." Women: a Cultural Review. 4(1):78-90. 1993 Spring

Taylor, Helen.
"Anniversaries, Sequels and Bandwagons: Gone with the Wind, 1989-1991." Women: A Cultural Review. 4 (1): 78-90. 1993 Spring.

Taylor, Helen.
"Gone with the Wind: The Mammy of Them All."
In: The Progress of Romance: The Politics of Popular Fiction. / edited by Jean Radford. pp.: 113-136. London; New York: Routledge & Kegan Paul, 1986.
Main Stack PR830.L69.P761 1986
Moffitt PR830.L69.P76 1986

Taylor, Helen.
Scarlett's women : Gone with the wind and its female fans / Helen Taylor. New Brunswick, N.J. : Rutgers University Press, 1989.
Main Stack PS3525.I972.G6881 1989

Tracy, James F.
"Revisiting a polysemic text: the African American press's reception of 'Gone With the Wind'." Mass Communication and Society Fall 2001 v4 i4 p419(18)
"This article discusses how 'Gone With the Wind' was received among the African American press from 1939 to 1940, ranging from earlier watchful indifference to ambivalence. The author asserts that multiple meanings of the readings of the film by African American filmgoers and journalists illustrate the emergence of resistance to Hollywood's cultural hegemony; these journalists along with the National Association for the Advancement of Colored People (NAACP) successful protested a remake of 'Birth of a Nation,' although it would be many years before African Americans obtained meaningful roles in Hollywood." [Expanded Academic Index] UC users only

Vertrees, Alan David.
"Reconstructing the "Script in Sketch Form": An Analysis of the Narrative Construction and Production Design of the Fire Sequence in "Gone with the Wind"." Film History, Vol. 3, No. 2 (1989), pp. 87-104 UC users only

Vertrees, Alan David.
Selznick's Vision: Gone with the Wind and Hollywood Filmmaking / Alan David Vertrees. Austin: University of Texas Press, c1997. Series title: Texas film studies series.
UCB Main PN1997.G59 V47 1997

Wood, Gerald.
"From The Clansman and Birth of a Nation to Gone with the Wind: The Loss of American Innocence." In: Recasting: "Gone with the wind" in American culture / edited by Darden Asbury Pyron. pp: 123-136. Miami : University Presses of Florida, c1983.
Main Stack PS3525.I972.G687 1983
Moffitt PS3525.I972.G687 1983

Guess Who's Coming to Dinner

Angel, Naomi
"The Missing Bi-racial Child in Hollywood." Canadian Review of American Studies; 2007, Vol. 37 Issue 2, p239-263, 25p
UC users only

Harris, Glen Anthony; Toplin, Robert Brent.
"Guess Who's Coming to Dinner?: A Clash of Interpretations Regarding Stanley Kramer's Film on the Subject of Interracial Marriage." Journal of Popular Culture, Aug2007, Vol. 40 Issue 4, p700-713, 14p
UC users only

Kelley, Samuel L.
The evolution of character portrayals in the films of Sidney Poitier, 1950-1978
NEWS: MICROFICHE.6030.Unit 98

Keyser, Lester J.
The cinema of Sidney Poitier : the black man's changing role on the American screen. San Diego, [Calif. : A. S. Barnes, c1980
MAIN: PN2287.P57 .K4

Levine, Andrea.
"Sidney Poitier's Civil Rights: Rewriting the Mystique of White Womanhood in Guess Who's Coming to Dinner and In the Heat of the Night." American Literature: A Journal of Literary History, Criticism, and Bibliography, vol. 73, no. 2, pp. 365-86, June 2001.
UC users only

Marill, Alvin H.
The films of Sidney PoitierSecaucus, N.J. : Citadel Press, c1978.
MAIN: PN2287 .P57M3

Peña Ovalle, Priscilla.
"Guess Who's Coming to Dinner with Eldridge Cleaver & the Supreme Court, or Reforming Popular Racial Memory with Hepburn and Tracy." In: The persistence of whiteness : race and contemporary Hollywood cinema / edited by Daniel Bernardi. London : New York : Routledge, 2008.
Main (Gardner) Stacks PN1995.9.M56 P47 2008

Wartenberg, Thomas E.
"Guess Who's Coming to Dinner: Does Father Really Know Best?" In: Unlikely couples : movie romance as social criticism / Thomas E. Wartenberg. Boulder, Colo.: Westview Press, 1999.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1995.9.L6 W37 1999)

Hangin' With the Homeboys

(Directed by Joseph B. Vasquez, 1991)

Alexander, Karen.
"Hangin' with the Homeboys." (movie reviews) Sight and Sound v1, n8 (Dec, 1991):40.

Byrge D.
"Hangin' With The Homeboys." American Film, 1991 May, V16 N5:52-52.

Holden, Stephen.
"Hangin' with the Homeboys." (Living Arts Pages) (movie reviews) New York Times v140 (Fri, May 24, 1991):B7(N), C12(L), col 1, 16 col in.

Kauffmann, Stanley.
"Hangin' with the Homeboys." (movie reviews) New Republic v205, n6 (August 5, 1991):26.

Klawans, Stuart.
"Hangin' with the Homeboys." (movie reviews) Nation v252, n24 (June 24, 1991):863.

Leland, John.
"Hangin' with the Homeboys." (movie reviews) Newsweek v117, n21 (May 27, 1991):58.

Pitman, Randy.
"Hangin' with the Homeboys." (video recording reviews) Library Journal v117, n9 (May 15, 1992):136.

Salzberg, Charles.
"How the Homeboys' Got That Way". (making of Joseph B. Vasquez's 'Hangin' With the Homeboys'; includes related article) New York Times v140, sec2 (Sun, May 19, 1991):H13(N), H13(L), col 1, 39 col in.

Travers, Peter.
"Hangin' with the Homeboys." (movie reviews) Rolling Stone, n606 (June 13, 1991):108.

House Party

(Directed by Reginald Hudlin)

Alfred B.
"House Party." - Hudlin,R. Cineaste, 1990, V18 N1:23-24.

Ross P.
"House Party." Revue Du Cinema, 1991 May, N471:45-45.

Seidenberg R.
"House Party." - Hudlin,R. American Film, 1990 Apr, V15 N7:51-51.

Imitation of Life

(Directed by Douglas Sirk, 1959)

SEE Douglas Sirk bibliography

Imitation of Life

(Directed by John Stahl, 1934)

SEE Melodrama bibliography

In the Heat of the Night

Elliot, Patricia.
"Working through Racism: Confronting the Strangely Familiar." JPCS: Journal for the Psychoanalysis of Culture and Society 1996 Spring, 1:1, 63-72.

Kelley, Samuel L.
The evolution of character portrayals in the films of Sidney Poitier, 1950-1978
NEWS: MICROFICHE.6030.Unit 98

Keyser, Lester J.
The cinema of Sidney Poitier : the black man's changing role on the American screen. San Diego, [Calif. : A. S. Barnes, c1980
MAIN: PN2287.P57 .K4

Levine, Andrea.
"Sidney Poitier's Civil Rights: Rewriting the Mystique of White Womanhood in Guess Who's Coming to Dinner and In the Heat of the Night." American Literature: A Journal of Literary History, Criticism, and Bibliography, vol. 73, no. 2, pp. 365-86, June 2001.

Levy, Shawn.
"In the Heat of the Night."(video recording reviews) American Film v16, n3 (March, 1991):68 (1 page).

Marill, Alvin H.
The films of Sidney PoitierSecaucus, N.J. : Citadel Press, c1978.
MAIN: PN2287 .P57M3

Kansas City

SEE Robert Altman bibliography

Killer of Sheep

Arthur, Paul.
"Killer of Sheep." Film Comment, Jan/Feb2008, Vol. 44 Issue 1, p38-38
UC users only

Brill, Lesley.
""Boundaries, burdens and stings" : living as prey in Burnett's Killer of sheep." In: Crowds, power, and transformation in cinema / Lesley Brill. Detroit : Wayne State University Press, c2006.
Main (Gardner) Stacks PN1995.9.C67 B75 2006

Hedges, Inez.
"Signifyin' and Intertextuality: Killer of Sheep and Black Independent Film." Socialism and Democracy. Jul 2007. Vol. 21, Iss. 2; p. 133 (11 pages)
UC users only

Hozic, Aida A.
"The House I Live In: An Interview with Charles Burnett." Callaloo. 17(2):471-91. 1994 Summer
UC users only

James, David E.
"Toward a Geo-Cinematic Hermeneutics: Representations of Los Angeles in Non-Industrial Cinema -- Killer of Sheep and Water and Power." Wide Angle 20.3 (1998) 23-53
UC users only

Kim, Sojin; Livengood, R. Mark.
"Talking with Charles Burnett." Journal of American Folklore v111, n439 (Wntr, 1998):69 (5 pages).
UC users only

Lev, Peter
"From Blaxploitation to African American Film: Shaft, Superfly, Claudine, Leadbelly, Killer of Sheep." In: American films of the 70s : conflicting visions / Peter Lev. Austin, TX : University of Texas Press, 2000.

Martin, Michael T.; Julien, Eileen
"Charles Burnett-Consummate Cinéaste 'We, who grew up in the Civil Rights Movement, felt responsible to make our race proud.'" Black Camera, Volume 1, Number 1, Winter 2009 (The New Series)
UC users only

Massood, Paula J.
"An Aesthetic Appropriate to Conditions: Killer of Sheep, (Neo)Realism, and the Documentary Impulse." Wide Angle 21.4 (1999) 20-41
UC users only

Merritt, Bishetta D.
"Charles Burnett: Creator of African American Culture on Film." Journal of Black Studies September 2008 vol. 39 no. 1 109-128

Norton, Chris.
"Black Independent Filmmaking and Influence of Neo-realism." Images, 5

Rachleff, Peter.
"The Reel Watts: Charles Burnett's Killer of Sheep" New Labor Forum 17.2 (2008).

Reynaud, Bérénice
"An Interview with Charles Burnett." Black American Literature Forum Vol. 25, No. 2, Black Film Issue (Summer, 1991), pp. 323-334
UC users only

Thompson, Cliff.
"The Devil Beats His Wife: Small Moments and Big Statements in the Films of Charles Burnett." Cineaste. 23(2):24-27. 1997
UC users only

Thompson, Clifford. "Good Moments in a Tough World: The Films of Charles Burnett." Cineaste. Spring 2008. Vol. 33, Iss. 2; p. 32 (4 pages)
UC users only

White, Armond. "Sticking to the soul: Charles Burnett." Film Comment. Jan/Feb 1997. Vol. 33, Iss. 1; pg. 38, 4 pgs
UC users only

Long Walk Home

(Directed by Richard Pearce, 1991)

Ansen, David.
"A Long Walk Home." (movie reviews) Newsweek v117, n2 (Jan 14, 1991):54.

Bates P.
"The Long Walk Home." (movie reviews) Cineaste, 1991, V18 N3:51-53.

Corliss, Richard.
"The Long Walk Home." (movie reviews) Time v136, n26 (Dec 17, 1990):92.

Maslin, Janet.
"A Long Walk Home." (movie reviews)(Living Arts Pages) (movie reviews) New York Times v140 (Fri, Dec 21, 1990):B6(N), C28(L), col 3, 21 col in.2.

Mason, M.S.
"The Long Walk Home." (movie reviews) Christian Science Monitor v83, n113 (Tue, May 7, 1991):15, col 2, 24 col

Sherman, Amy L.
"A Long Walk Home." (movie reviews) Christian Century v113, n17 (May 15, 1996):549 (2 pages).

Travers, Peter.
"The Long Walk Home." (movie reviews) Rolling Stone, n595 (Jan 10, 1991):55.

Menace II Society

(Directed by Allen and Albert Hughes, 1993)

Coleman, Robin R. Means.
"The Menace II Society Copycat Murder Case and Thug Life: A Reception Study with a Convicted Criminal." In: Say it loud! : African-American audiences, media, and identity / edited by Robin R. Means Coleman. pp: 249-84. New York : Routledge, 2002.
Main Stack P94.5.A37.S28 2002

Denby, David.
"Menace II Society." (movie reviews) New York v26, n22 (May 31, 1993):54 (2 pages).

Farred, Grant.
"Menace II Society: No Way Out for the Boys in the Hood." Michigan Quarterly Review, vol. 35 no. 3. 1996 Summer. pp: 475-92.
" The film "Menace II Society" accurately portrays the lives and struggles of young African-Americans' in ghettoes such as Compton, Ca. These youth have no way to escape, so they adapt and respond to their devastated environment, developing unique economic and cultural systems. The movie shows that a dynamic culture can exist in the inner city, but poverty and violence ultimately overwhelm both the culture and the residents." [Expanded Academic Index]

Farred, Grant.
""Menace II Society": no way out for the boys in the hood." Michigan Quarterly Review 35.n3 (Summer 1996): 474(19).
"The film "Menace II Society" accurately portrays the lives and struggles of young African-Americans' in ghettoes such as Compton, Ca. These youth have no way to escape, so they adapt and respond to their devastated environment, developing unique economic and cultural systems. The movie shows that a dynamic culture can exist in the inner city, but poverty and violence ultimately overwhelm both the culture and the residents." [Expanded Academic Index]

Fisher, Celeste A.
"'America's Worst Nightmare': Reading the Ghetto in a Culturally Diverse Context." In: Say it loud! : African-American audiences, media, and identity / edited by Robin R. Means Coleman. pp: 229-47. New York : Routledge, 2002.
Main Stack P94.5.A37.S28 2002

Gormley, Paul
" Gangsters and Gangstas Part Two: Menace II Society and the Cinema of Rage." In: New-Brutality Film : Race and Affect in Contemporary American Film
Full-text of this book available online via ebrary [UC Berkeley users only]
Main Stack PN1995.9.V5.G67 2005
PFA : PN1995.9.V5 G67 2005

Jafa, Arthur.
"Like Rashomon But Different: The New Black Cinema. (review of the motion picture 'Menace II Society') Artforum v31, n10 (Summer, 1993):10 (2 pages).
UC users only
"The motion picture 'Menace II Society' is lauded as the most powerful film in years, particularly for its realistic portrayal of Afro-American urban male youths. The film, which was directed by young twins Allen and Albert Hughes, is considered vastly superior to previous acclaimed films made by Afro-Americans because of its thought-provoking subtexts concerning the black male psyche. These involve cultural traits regarding misogyny, black-on-black violence and rites of passage. Charles Burnett's 1970's film 'Killer of Sheep' is also regarded as a seminal work." [Expanded Academic Index]

Massood, Paula.
"Mapping the Hood, The Genealogy of City Space in Boyz-n-the-Hood and Menace-II-Society. Cinema Journal, 1996 Winter, v35 n2:85-97.

Masood, Paula.
"Menace II Society."(movie review) Cineaste v20, n2 (Spring, 1993):44 (2 pages).

Rafferty, Terrence.
"Menace II Society." (movie reviews) New Yorker v69, n15 (May 31, 1993):160 (3 pages).

Schroeder, Erin.
"A Multicultural Conversation: La Haine, Rai, and Menace II Society." Camera Obscura (Sept 2001): 143.
UC users only

Taubin, Amy.
"Girl in the Hood." (analysis of 'Just Another Girl on the I.R.T.' and 'Menace II Society,' two African-American movies) Sight and Sound v3, n8 (August, 1993):16 (2 pages).
"African-American woman producer, Leslie Harris' 'Just Another Girl on the I.R.T.' portrays an adolescent girl's pregnancy, and borders on the comic. It is farcical and ominous in its effect. It does not address the problems of African-American middle-class women, due to its predominantly adolescent theme. Hughes Turins' 'Menace II Society,' on the other hand, effectively conveys conflicts faced by a young black in the ghettos. It deromanticises the picture of exploitation depicted in 'Boyz N the Hood.' Its stark realism makes it one of the most successful African-American films." [Expanded Academic Index]

Mississippi Burning

(Directed by Alan Parker, 1988)

Mississippi Masala

SEE Mira Nair bibliography

Monster's Ball

Beck, Bernard.
"The Unquiet Grave: In the Bedroom, Monster's Ball, and The Agony of Survival." Multicultural Perspectives, 2002, Vol. 4 Issue 4, p24-27, 4p
UC users only

Carrillo Rowe, Aimee
"Feeling in the Dark: Empathy, Whiteness, and Miscege-Nation in Monster's Ball." Hypatia: A Journal of Feminist Philosophy, vol. 22, no. 2, pp. 122-42, Spring 2007
UC users only

Dreher, Kwakiutl.
"A Eulogy for Tyrell Musgrove: The Disremembered Child in Marc Forster's " Monster' Ball". Film Criticism 29:1 (Fall 2004) p. 65-81
UC users only

Flax, Jane.
"Monster's Ball: Representations of Race and Gender in the Contemporary United States." Black Renaissance/Renaissance Noire 5. 1 (2003 Spring): 57-68.
UC users only

Henderson, Carol
"'King Kong Ain't Got Sh** On Me': Allegories, Anxieties, and the Performance of Race in Mass Media." Journal of Popular Culture 43. 6 (2010 Dec): 1207-1221.
UC users only

Holland, Sharon P.
"Death in Black and White: A Reading of Marc Forster's Monster's Ball." Signs: Journal of Women in Culture & Society, Spring, 2006, Vol. 31 Issue 3, p 785-813
UC users only

Keels, Crystal L.
"" Monster'Ball": Hollywood's Grotesque History and/or Something Else Besides?" Black Camera 17:2 (Fall-Winter 2002) p. 4-5
UC users only

Kellman, Steven G.
"The Green Mile Seen Through Black and White." Southern Quarterly, Spring2002, Vol. 40 Issue 3, p177, 2p

Mask, Mia.
"Monster's Ball." Film Quarterly Sep 2004, Vol. 58, No. 1: 44-55.
UC users only

Murch, Donna.
"The Prison of Popular Culture: Rethinking the Seventy-Fourth Annual Academy Awards." Black Scholar, Spring2003, Vol. 33 Issue 1, p25, 8p
UC users only

Rowe, Aimee Carrillo.
"Feeling in the Dark: Empathy, Whiteness, and Miscegenation in Monster's Ball." Hypatia, Spring2007, Vol. 22 Issue 2, p122-142, 21p
UC users only

Thompson, Clifford
"Monster's Ball." Cineaste 27:3 (Summer 2002) p. 32-33
UC users only

Pinky

Secrets and Lies

(Directed by Mike Leigh, 1996)
See Mike Leigh bibliography

Separate But Equal

(Directed by George Stevens Jr., 1991)

Hoagland, Jim.
"Separate But Equal." (television program reviews) Washington Post v114 (Sun, April 7, 1991):D7, col 6, 17 col in. Pub Type: Review.

Lewis, Anthony.
"Seeds of Race Hate." (television film, 'Separate but Equal') (column) New York Times v140 (Mon, April 8, 1991):A11(N), A15(L), col 1, 16 col in.

O'Connor, John J.
"Separate but Equal." (television program reviews) New York Times v140 (Fri, April 5, 1991):B11(N), C24(L), col 1, 17 col in.

"Separate But Equal." (Living Arts Pages) (video recording reviews) New York Times v141 (Thu, Oct 24, 1991):B4(N), C22(L), col 5, 2 col in.

Trescott, Jacqueline.
"The Prime Time of Sidney Poitier; Thurgood Marshall Role Lures the Actor to TV." ('Separate but Equal' television movie; school desegregation cases of 1954) Washington Post v114 (Sun, April 7, 1991):G1, col 5, 55 col in.

Shaft

(Directed by Gordon Parks)

"Blacks vs. Shaft" [formation of Coalition against Blaxploitation]. Newsweek v. 80 (August 28 1972) p. 88

Briggs, Joe Bob
"Who Dat Man? Shaft and the Blaxploitation Genre." Cineaste, vol. 28, no. 2, pp. 24-29, Spring 2003
UC users only
"In an article taken from his forthcoming book Profoundly Disturbing: The Shocking Movies That Changed History, Joe Bob Briggs discusses Gordon Parks's 1971 film Shaft . The film is famous for prompting a boom in blaxploitation films. Although Shaft was not the first blaxploitation movie, most people think it was. The character of John Shaft--a tough private detective who does not take guff from white cops, black revolutionaries, Harlem bosses, or Mafia dons--was the creation of Ernest Tidyman, a hard-drinking white journalist who decided that it was time for a black detective novel. The film helped bring about a scenario where movies could be successful on black box office alone and it also created the first action hero--Richard Roundtree--who belonged entirely to the African-American community. The writer considers the film's enduring popularity, its critical reception, its place in the history of blaxploitation films, and its influence on the careers of those involved in it, particularly Roundtree and Parks." [Art Index]

Brown, Stephanie.
"'A Great Space Where Sex Should Be,' or 'Who's the Black Private Dick Who's Not a Sex Machine to All the Chicks?' Shaft (2000)." In: Sleuthing ethnicity : the detective in multiethnic crime fiction / edited by Dorothea Fischer-Hornung and Monika Mueller. pp: 164-74. Madison [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, c2003. Electronic location:
Table of contents http://www.loc.gov/catdir/toc/ecip041/2003005811.html
Main Stack PS374.D4.S58 2003

Henry, Matthew.
"He Is a 'Bad Mother*$%@!#': Shaft and Contemporary Black Masculinity." Journal of Popular Film and Television Summer 2002 v30 i2 p114(6) (5218 words)
UC users only
"Recent analyses of contemporary black masculinity have centered on images of the black male in mainstream cinema, mainly in the so-called "hood" films of the 1990s. This article explores black masculinity within American popular culture through the mythic black icon John Shaft and a juxtaposed reading of Gordon Parks's Shaft (1971) and John Singleton's Shaft (2000). These two films reveal how shifting ideologies of race and gender have helped to define black masculinity in American culture. Specifically, this essay considers Singleton's film within the context of the blaxploitation film in order to examine the ideological implications of current constructions of black masculinity." [Art Index]

Lev, Peter
"From Blaxploitation to African American Film: Shaft, Superfly, Claudine, Leadbelly, Killer of Sheep." In: American films of the 70s : conflicting visions / Peter Lev. Austin, TX : University of Texas Press, 2000.
Full text available online [UCB users only]
Main (Gardner) Stacks; Moffitt PN1993.5.U6 L44 2000)

Lyons, Nancee L.
"From Race Movies to Blaxploitation to Homeboy Cinema." (evolution of African American films by African American filmmakers) American Visions v7, n1 (Feb-March, 1992):42 (2 pages).

Morris, Gary.
"Blaxploitation, A Sketch." Bright Lights Journal (March 1997)

Palmer, William J.
"From Blaxploitation to African American Film." In: The films of the seventies : a social history / by William J. Palmer. Metuchen, N.J. : Scarecrow Press, 1987.
Main Stack PN1995.9.S6.P341 1987
Moffitt PN1995.9.S6.P34 1987)

Phillips, Mike.
"Chic and Beyond." (blaxploitation movies) Sight and Sound v6, n8 (August, 1996):25 (3 pages).

A Soldier's Story

(Directed by Norman Jewison, 1984)

Beale, Lewis.
"A Soldier's Story: The Battle to Make a Movie." Los Angeles Times v102, secC (Sun, Nov 6, 1983):1, col 1, 71 col in.

Benson, Sheila.
"A Soldier's Story." (moving-picture reviews) Los Angeles Times v103, secC (Fri, Sept 14, 1984):1, col 2, 18 col in.

Bygrave, Mike
"A Soldier's Story." Sight & Sound LIV/1, Winter 84-85; p.17-19.
Location report and discussion of the lack of real opportunities for black performers in cinema.

Champlin, Charles.
"A Soldier's Story." (moving-picture reviews) Los Angeles Times v103, secV (Sat, Oct 6, 1984):1, col 1, 21 col in.

Halstuk, Martin.
"A Soldier's Story: Of War, Color, Race. (blacks in the military) Los Angeles Times v103, secC (Sun, Oct 21, 1984):17, col 1, 34 col in.

Harmetz, Aljean.
"Strategies of Selling 'Soldier's Story' Film." New York Times v134 (Mon, Oct 29, 1984):19(N), C15(L), col 1, 18 col in.

Harmetz, Aljean.
"How Endings With a Twist Have Affected 2 Recent Movies. (Places in the Heart, A Soldier's Story) New York Times v134 (Mon, Oct 8, 1984):16(N), C13(L), col 1, 29 col in.

Long, Jerome H.
"Reflections on A Soldier's Story: For Blacks, A War Within the War." Film & History, Feb-May1995, Vol. 25 Issue 1/2, p18-23, 6p
UC users only

Storhoff,G.P. & Kunz, Don
"Reflections of Identity in A Soldier's Story. Singing the Blues in A Soldier's Story." Literature-Film Quarterly v19, n1 (Jan, 1991):27 (8 pages).
Compares "A Soldier's Story" to Charles Fuller's original drama 'A Soldier's Play', focusing on each version's treatment of black identity in a white environment, the use of blues music on the sound track, and the message of the final scenes.

Rosenfeld, Megan.
"A Soldier's Story." (moving-picture reviews) Washington Post v107 (Fri, Sept 28, 1984):C1, col 2, 24 col in.

Salamon, Julie.
"A Soldier's Story." (moving-picture reviews) Wall Street Journal (Thu, Sept 27, 1984):22(W), 28(E), col 2, 11 col in.

Slater, Jack.
"Soldier's Story Begs Question of Self-Hate." Los Angeles Times v103, secC (Sun, Oct 7, 1984):28, col 3, 29 col in.

Staples, Brent.
"Mississippi Burning: Generating Heat or Light; Cinematic Segregation in a Story About Civil Rights. (Includes related article on "A Soldiers Story") New York Times v138, sec2 (Sun, Jan 8, 1989):H1(N), H1(L), col 3, 38 col in.

Storhoff, Gary P.
"Reflections of Identity in A Soldier's Story." Literature-Film Quarterly v19, n1 (Jan, 1991):21 (6 pages).

Van Gelder, Lawrence.
"Soldier's Story." (moving-picture reviews) New York Times v133 (Fri, Sept 14, 1984):25(N), C10(L), col 4, 13 col in.

Song of the South

See Walt Disney bibliography

Straight Out of Brooklyn

(Directed by Matty Rich, 1991)

Benson, Sheila.
"Right In the Spotlight." (writer-director-actor Matty Rich, 'Straight Out of Brooklyn,' Sundance Film Festival) Los Angeles Times v110 (Sat, Jan 26, 1991):F1, col 4, 20 col in.

Bernstein, Richard.
"The Film and the Dream in Brooklyn." (director Matty Rich and his new film, 'Straight Out of Brooklyn') (Living Arts Pages) New York Times v140 (Tue, May 28, 1991):B1(N), C11(L), col 3, 28 col in.

Dyson, M. A.
"Out Of The Ghetto" (Rich,Matty Film 'straight Out Of Brooklyn' And African-American Cinema) Sight And Sound, 1992 Oct, V2 N6:18-21.

Holden, Stephen.
"Straight Out of Brooklyn." (movie reviews) (Living Arts Pages) (movie reviews) New York Times v140 (Wed, May 22, 1991):B3(N), C11(L), col 1, 14 col in.

Kauffmann, Stanley.
"Straight Out of Brooklyn." (movie reviews) New Republic v205, n6 (August 5, 1991):26.

Leland, John.
"Straight Out of Brooklyn." (movie reviews) Newsweek v117, n21 (May 27, 1991):58.

Lyons, Nancee L.
"Matty Rich Comes Straight Out of Brooklyn." (motion picture director) (Interview) American Visions v6, n5 (Oct, 1991):46 (2 pages).

Morris-Knower, James P.
"Homeboys and Homeplace: The Geography of Adolescence in Straight out of Brooklyn and Boyz N the Hood." Michigan Academician vol. 29 no. 2. 1997 Mar. pp: 185-98.

O'Pray, Michael.
"Straight Out of Brooklyn." (movie reviews) Sight and Sound v2, n6 (Oct, 1992):55 (2 pages).

Sachs, Dana.
"Straight Out of Brooklyn." (movie reviews) Mother Jones v16, n4 (July-August, 1991):61.

Travers, Peter.
"Straight Out of Brooklyn." (movie reviews) Rolling Stone, n606 (June 13, 1991):108.

Uncle Tom's Cabin

(Various versions)

Bogle, Donald.
"Black Beginnings: from Uncle Tom's Cabin to The Birth of a Nation." In: Toms, coons, mulattoes, mammies, and bucks : an interpretive history of Blacks in American films New York : Continuum, 2001.
Main (Gardner) Stacks PN1995.9.N4 B6 2001

Johnson, Stephen
"Time and Uncle Tom: Slowing Down Edwin S. Porter's Film of Uncle Tom's Cabin." In: Performing adaptations : essays and conversations on the theory and practice of adaptation / edited by Michelle MacArthur, Lydia Wilkinson and Keren Zaiontz. Newcastle upon Tyne : Cambridge Scholars, 2009.
Main (Gardner) Stacks PN1661 .P47 2009

Memory and myth : the Civil War in fiction and film from Uncle Tom's cabin to Cold mountain
Edited by David B. Sachsman, S. Kittrell Rushing, Roy Morris, Jr. West Lafayette, Ind. : Purdue University Press, c2007.
Main (Gardner) Stacks PS374.C53 M46 2007

O'Loughlin, Jim.
"Uncle Tom's Cabin as Dominant Culture." Journal of Adaptation in Film & Performance; 2008, Vol. 1 Issue 1, p45-56, 12p UC users only

Pierce, David.
"'Carl Laemmle's outstanding achievement.'" Film History; 1998, Vol. 10 Issue 4, p459-476, 18p
UC users only
The article features director Harry Pollard and provides an account of the struggle to film "Uncle Tom's Cabin," a novel by Harriet Beecher Stowe. Pollard, who was the leading director at Universal Pictures in the mid to late 1920s, was considered to be one of the outstanding director in the industry by Universal President Carl Laemmle. It offers an overview of some of the stage and film adaptations of the novel. A description of the challenges met by the production crew of the film, including location, casting and premieres, is presented. It is stated that the virtues and sincerity of Pollard's film outweigh the shortcomings of its storytelling.

"Uncle Tom's Cabin in American Film History." Journal of Popular Film, 1973, Vol. 2 Issue 2, p137-152, 16p

Wallace, Michele.
"Uncle Tom's Cabin." TDR: The Drama Review; Spring2000, Vol. 44 Issue 1, p136, 21p,
UC users only

Whissel, Kristen.
" Uncle Tom, Goldilocks and the Rough Riders: early cinema's encounter with empire." Screen; 1999, Vol. 40 Issue 4, p384-404, 21p
UC users only

Waiting to Exhale

(Directed by Forest Whitaker, 1995)

Ansen, David.
"Waiting to Exhale." (movie reviews) Newsweek v127, n2 (Jan 8, 1996):68 (1 page).

Barboza, Craigh.
"A growing number of black stars are shining in Hollywood; many point to the success of last year's 'Waiting to Exhale' as a watershed for black actors." New York Times v145, sec2 (Sun, Oct 20, 1996):H28(N), H28(L), col 3, 30 col in.

Bart, Peter.
"Surprise party." (audience interaction with film 'Waiting to Exhale')(Column) Variety v361, n9 (Jan 8, 1996):8 (2 pages).
The media coverage of movies traditionally depends on the amount of favorable reviews that the movie generates. However, that was not the case with the film 'Waiting to Exhale,' a film that was covered extensively by the news media despite its mostly negative and mixed reviews.

Cheshire, Godfrey.
"Waiting to Exhale." (movie reviews) Variety v361, n7 (Dec 18, 1995):66 (1 page)

De Witt, Karen.
"For black women, a movie stirs breathless excitement." (new film based on Terry McMillan's best-selling novel 'Waiting to Exhale') New York Times v145, sec1 (Sun, Dec 31, 1995):1(N), 1(L), col 1, 37 col in.

Dutka, Elaine.
"'Waiting' to start a trend? Studios are anxious to see how upcoming black films will fare." (response to the film 'Waiting to Exhale' and others) Los Angeles Times v115 (Tue, Jan 9, 1996):F1, col 2, 19 col in.

Eller, Janet Masonby
"Deposing the man of the house: Terry McMillan rewrites the family." (Popular Literature and Film) . MELUS Summer 1997 v22 n2 p105(13)
UC users only
" Terry McMillan's novels 'Mama,' 'Disappearing Acts,' and 'Waiting to Exhale' portray African American families outside white middle class norms, offering a counter-narrative to the way popular culture oversimplifies African American family life. Some African American women writers have characterized McMillan's work as pulp fiction, but these novels significantly contribute to exploration of African American families." [Expanded Academic Index]

Exhaling and inhaling: was the movie fair to black men and black women? (Panel Discussion) Ebony v51, n6 (April, 1996):116 (5 pages).
The popular film 'Waiting to Exhale' is praised and criticized for its portayals of African American men and women. The film is praised for its realism about the attitudes of the women, while others believe the men are portrayed too negatively. The women lack a social consciousness.

Gilliam, Dorothy.
"Breathing easier with a rare film." ('Waiting to Exhale')(Column) Washington Post v119 (Sat, Jan 13, 1996):B1, col 1, 21 col in.

Harris, Tina-M.; Hill, Patricia-S.
"'Waiting to Exhale' or 'Breath(ing) Again': A Search for Identity, Empowerment, and Love in the 1990's" In: Women and Language, 1998 Fall, 21:2, 9-20.
A study was conducted to examine the visual representation of the women characters played in the motion picture, 'Waiting to Exhale.' The roles observed in the experiences of Afro-American women that were analyzed include mother, nurturer, caregiver, career woman, teacher, and community activist. Results showed the effectiveness of the Black feminist thought as a framework for examining the general role socialization of Afro-American professional women.

Holden, Stephen.
"Waiting to Exhale." (movie reviews) New York Times v145 (Fri, Dec 22, 1995):B1(N), C3(L), col 1, 16 col in.

Hooks, Bell.
"Save your breath, sisters." (criticism of the film 'Waiting to Exhale')(Column) New York Times v145, sec4 (Sun, Jan 7, 1996):E19(N), E19(L), col 2, 15 col in.

Johnson, Brian D.
"Waiting to Exhale." (movie reviews) Maclean's v108, n52 (Dec 25, 1995):87 (1 page).

King, Colbert I.
"Waiting to Exhale." (the depiction of African American women in the film 'Waiting to Exhale' is sympathetic, realistic and sad)(Column) Washington Post v119 (Sat, Jan 6, 1996):A21, col 1, 25 col in.

Lane, Anthony.
"Waiting to Exhale." (movie reviews) New Yorker v71, n44 (Jan 15, 1996):80 (1 page).

Lipman, Amanda.
"Waiting to Exhale." (movie reviews) Sight and Sound v6, n2 (Feb, 1996):56 (1 page).

Norment, Lynn.
"Waiting to Exhale."(Whitney Houston and Angela Bassett on the making of the movie) Ebony v51, n2 (Dec, 1995):24 (5 pages).
Terry McMillan's novel 'Waiting to Exhale' has been adapted to film. Playing the lead role is Whitney Houston with Angela Bassett, Lela Rochon and Loretta Devine. The storyline is about four women with the '90s syndrome: educated, attractive ... and choosing the wrong men. For the four actresses, the making of the movie was an experience in sisterhood.

Terry, Gayle Pollard.
"Terry McMillan; when a movie becomes a cross-cultural women's event." (interview with author of book recently made into film, 'Waiting to Exhale,')(Interview) Los Angeles Times v115 (Sun, Jan 14, 1996):M3, col 1, 41 col in.

Vilanch, Bruce.
"Waiting to expire." (viewing the popular film 'Waiting to Exhale' in Miami Beach, FL)(Column) Advocate n700 (Feb 6, 1996):51 (1 page).
The film 'Waiting to Exhale' examines the lives of four African American women. A member of an audience in Miami Beach, FL, that consisted of the elderly and gays in different stages of AIDS-related illnesses, describes how the depiction of bonding in the film is similar to that of the audience.

"Waiting to Exhale." (movie reviews) New York Times v145 (Fri, April 19, 1996):B10(N), D20(L), col 1, 33 col in.

White, Jack E.
"Heavy Breathing; forget about sisterhood and no-good guys. 'Waiting to Exhale' is about the bottom line." (Column) Time v147, n3 (Jan 15, 1996):73 (1 page).
'Waiting to Exhale,' adapted from Terry McMillan's best-seller about middle-class African American women, has proved that movies targeted for black audiences, without the old stereotypes can make big money. Sadly, it creates new stereotypes, in the same trashy romance faire with black faces.



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