Race Relations

Download Soul Searching: Black-Themed Cinema from the March on by Christopher Sieving PDF

By Christopher Sieving

The sixties have been a enormously very important time of transition for either civil rights activism and the U.S. movie undefined. Soul looking examines a topic that, regardless of its value to African American movie historical past, has long gone mostly unexplored in the past. by means of revisiting motion pictures produced among the march on Washington in 1963 and the sunrise of the "blaxploitation" motion picture cycle in 1970, Christopher Sieving finds how race family motivated black-themed cinema prior to it was once well-known as commercially manageable through the key studios. the flicks which are principal to this book--Gone Are the times (1963), The Cool global (1964), The Confessions of Nat Turner (never produced), Uptight (1968), and the owner (1970)--are all ripe for reevaluation and newfound appreciation. Soul looking out is key interpreting for a person attracted to the politics and cultural hobbies of the Sixties, cinematic developments like blaxploitation and the yank "indie film" explosion, or black adventure and its many features.

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Extra info for Soul Searching: Black-Themed Cinema from the March on Washington to the Rise of Blaxploitation

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The pervasive adoption of vérité techniques for the black-themed movies of this period was as much economically as aesthetically motivated because the use of existing locations, available light, and portable, hand-held cameras helped defray expenses at a time when the costs involved with feature filmmaking were skyrocketing. 69 The American “race film” makers of the 1960s were likely considerably affected by neorealist classics like Roberto Rossellini’s Paisan (1946), which includes a story line about an African American soldier in Naples at the end of World War II.

In fact, by continuing to occasionally feature black actors in supporting parts in films dominated by white characters, the studios could claim with some justification that they were being true to the reality of life in the United States, where— despite legislative gains, capped by the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965— blacks and whites interacted infrequently and questions of racial inequity seldom intruded upon the day-to-day lives of white Americans. The Hollywood movies of the early and middle 1960s did indeed, in the parlance of the day, portray the African American as he really is: they depicted him as marginalized.

60 This total included The March on Hollywood ■ 25 many of the (mostly Manhattan-based) reviewers who would later evaluate the film; their knowledge of the stage production resulted in harsh complaints about the filmmakers’ failure to transform the play into something more cinematic. 63 This white discomfort foreshadowed the work’s later difficulty in reaching a highbrow, affluent white audience. Yet this was the very audience that Gone Are the Days was saddled with, by virtue of its art-house release.

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