By Allyson Nadia Field
ISBN-10: 0822359073
ISBN-13: 9780822359074
In Uplift Cinema, Allyson Nadia box recovers the numerous but forgotten legacy of African American filmmaking within the 1910s. just like the racial uplift undertaking, this cinema emphasised fiscal self-sufficiency, schooling, and respectability because the keys to African American growth. box discusses movies made on the Tuskegee and Hampton Institutes to advertise schooling, in addition to the debatable the hot period, which used to be an antiracist reaction to D. W. Griffith's The delivery of a kingdom. She additionally exhibits how Black filmmakers in long island and Chicago engaged with uplift during the promoting of Black modernity. Uplift cinema built not only as a reaction to onscreen racism, yet constituted an unique engagement with the hot medium that has had a deep and lasting value for African American cinema. even if none of those movies survived, Field's exam of archival movie ephemera provides a mode for learning misplaced movies that opens up new frontiers for exploring early movie tradition.
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Additional info for Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity
Sample text
In this sense, the business and entertainment definitions of entrepreneur bring uplift into alignment with itinerant exhibitors like Lyman Howe. Black film entrepreneurs worked with relative autonomy, unhindered by regulation or patent restrictions. 65 The term entrepreneurial also allows for an understanding of filmmaking that includes narrative and nonnarrative, fiction and nonfiction, theatrical and nontheatrical modes of film production. Although the southern institutes that engaged with motion picture technology did so for a variety of reasons, entertainment was not the primary objective; for independent Black film entrepreneurs, in contrast, the goal was to cultivate and sustain a paying audience through entertaining motion pictures and actualities pertaining to African American life.
One such film, Making Negro Lives Count (Hampton Institute, 1915), clearly plays on this dual meaning in its title and in a narrative structure that showcases Hampton’s ability to transform individuals and, as a result, communities. Making Negro Lives Count chronicles the conditions in poor rural communities, the training provided by Hampton to meet the challenges of those conditions, and the results of improvements made in the communities by Hampton graduates. More broadly, the institutes’ films were part of the rhetorical arsenal of their multimedia publicity campaigns.
This expansion of the period matters not just because it makes the historiography more accurate but also because it broadens our understanding of the motivation of race film practitioners. Accounts of race film have posited it primarily as a response to representational racism and as the manifestation of a desire to capitalize on a perceived untapped market, African American spectators. The notion of a separate cinema necessitated by a segregated culture is a logical inference. Yet it is only part of the story.
Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity by Allyson Nadia Field
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