Carta nautica del año 1527 d[etta] Salviati [Documento cartografico] / reproduccion publicada por Carlos Sanz

• Record Nr.: UNINA990009917250403321
• Pubbl/distr/stampa: Madrid : Graficas Yagues, 1961
• Descrizione fisica: 1 carta ; 42, 5 x 20 cm su foglio 70 x 45, 5 cm
• Locazione: ILFGE
• Collocazione: Cons.3 Atl.1 Carte sciolte 41(29); Cons.3 Atl.1 Carte sciolte 41(29)bis
• Lingua di pubblicazione: Spagnolo
• Formato: Materiale cartografico a stampa
• Livello bibliografico: Monografia
• Note generali: Ripr. della carta manoscritta policroma del 1527 conservata presso la Biblioteca Laurenziana di Firenze

Richard E. Norman and race filmmaking / / Barbara Tepa Lupack ; foreword by Michael T. Martin

• Record Nr.: UNINA9910825663303321
• Autore: Lupack Barbara Tepa
• Pubbl/distr/stampa: Bloomington : , : Indiana University Press, , [2014]; ©2014
• ISBN: 0-253-01056-X; 0-253-01072-1
• Descrizione fisica: 1 online resource (400 p.)
• Altri autori (Persone): MartinMichael T
• Disciplina: 791.43/0233/092
• Soggetti: Race films; African Americans in motion pictures
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Foreword by Michael T. Martin -- Introduction: new visions of ; opportunity -- Race matters: the evolution of race filmmaking -- "Have you talent?": Norman's early career -- "Not a white man in the cast": Norman's early race films -- "Taking two hides from the ox": The bull-dogger and The crimson skull -- "A risky experiment": Zircon and regeneration -- "You know we have the goods": The flying ace and Black gold -- "It takes a darn good one to stick": Norman's later career -- Afterword -- Appendix 1: shooting script: The green eyed monster -- Appendix 2: shooting script (fragment) and scenario: The bull-dogger -- Appendix 3: shooting script: The crimson skull.
• Sommario/riassunto: In the early 1900's, 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 photo plays 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 film making. Making use of