Mapping the historical and cultural contexts of film practices in Latin America, this two-volume collection of programmatic statements, essays and interviews is devoted to the study of a theorized, dynamic and unfinished cinematic movement. Forged by Latin America's post-colonial environment of underdevelopment and dependency, the New Latin American Cinema movement has sought to inscribe itself in Latin America's struggles for cultural and economic autonomy.
This volume explores the formation of the New Latin American Cinema movement, its national and continental implications...
Mapping the historical and cultural contexts of film practices in Latin America, this two-volume collection of programmatic statements, essays and ...
Mapping the historical and cultural contexts of film practices in Latin America, this two-volume collection of programmatic statements, esays and interviews is devoted to the study of a theorized, dynamic and unfinished cinematic movement. Forged by Latin America's post-colonial environment of underdevelopment and dependency, the New Latin American Cinema movement has sought to inscribe itself in Latin America's struggles for cultural and economic autonomy.
This volume comprises essays on the development of the New Latin American Cinema as a comparative national project. Essays are...
Mapping the historical and cultural contexts of film practices in Latin America, this two-volume collection of programmatic statements, esays and i...
This is a study of the cinematic traditions and film practices in the black Diaspora. With contributions by film scholars, film critics, and film-makers from Europe, North America and the Third World, this diverse collection provides a critical reading of film-making in the black Diaspora that challenges the assumptions of colonialist and ethnocentrist discourses about Third World, Hollywood and European cinemas. The book examines the impact on film-making of Western culture, capitalist production and distribution methods, and colonialism and the continuing neo-colonial status of the people...
This is a study of the cinematic traditions and film practices in the black Diaspora. With contributions by film scholars, film critics, and film-make...
An exceptional resource, this comprehensive reader brings together primary and secondary documents related to efforts to redress historical wrongs against African Americans. These varied efforts are often grouped together under the rubric reparations movement, and they are united in their goal of repairing the injustices that have followed from the long history of slavery and Jim Crow. Yet, as this collection reveals, there is a broad range of opinions as to the form that repair might take. Some advocates of redress call for apologies; others for official acknowledgment of wrongdoing; and...
An exceptional resource, this comprehensive reader brings together primary and secondary documents related to efforts to redress historical wrongs aga...
An exceptional resource, this comprehensive reader brings together primary and secondary documents related to efforts to redress historical wrongs against African Americans. These varied efforts are often grouped together under the rubric reparations movement, and they are united in their goal of repairing the injustices that have followed from the long history of slavery and Jim Crow. Yet, as this collection reveals, there is a broad range of opinions as to the form that repair might take. Some advocates of redress call for apologies; others for official acknowledgment of wrongdoing; and...
An exceptional resource, this comprehensive reader brings together primary and secondary documents related to efforts to redress historical wrongs aga...
In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated cinema from its inception. Richard E. Norman, a southern-born white filmmaker, was one such pioneer. From humble beginnings as a roving "home talent" filmmaker, recreating photoplays that starred local citizens, Norman would go on to produce high-quality feature-length race pictures. Together with his better-known contemporaries Oscar Micheaux and Noble and George Johnson, Richard E. Norman helped to define early race filmmaking. Making use of...
In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated ci...
In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated cinema from its inception. Richard E. Norman, a southern-born white filmmaker, was one such pioneer. From humble beginnings as a roving "home talent" filmmaker, recreating photoplays that starred local citizens, Norman would go on to produce high-quality feature-length race pictures. Together with his better-known contemporaries Oscar Micheaux and Noble and George Johnson, Richard E. Norman helped to define early race filmmaking. Making use of...
In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated ci...
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...
