Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter turned family man who struggles with the pressures of small-town life and the limitations placed on him and his community in the Deep South, an area long fraught with racism. Though unmistakably about race and civil rights, the film makes no direct reference to the civil rights movement. Despite this intentional absence, contemporary audiences were acutely aware of the social context for the film's indictment of white prejudice in America. To help...
Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter tur...
Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter turned family man who struggles with the pressures of small-town life and the limitations placed on him and his community in the Deep South, an area long fraught with racism. Though unmistakably about race and civil rights, the film makes no direct reference to the civil rights movement. Despite this intentional absence, contemporary audiences were acutely aware of the social context for the film's indictment of white prejudice in America. To help...
Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter tur...
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original...
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American...
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original...
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American...
African Cinema and Human Rights is an interdisciplinary look at the role of moving images in human rights struggles through the lens of African cinema.
African Cinema and Human Rights is an interdisciplinary look at the role of moving images in human rights struggles through the lens of African cinema...
