03455oam 2200613I 450 991045098620332120200520144314.01-135-93704-41-280-17120-00-203-64191-410.4324/9780203641910 (CKB)1000000000252806(EBL)200840(OCoLC)61363549(SSID)ssj0000225016(PQKBManifestationID)11234582(PQKBTitleCode)TC0000225016(PQKBWorkID)10229518(PQKB)11332700(MiAaPQ)EBC200840(Au-PeEL)EBL200840(CaPaEBR)ebr10162907(CaONFJC)MIL17120(EXLCZ)99100000000025280620180331d2004 uy 0engur|n|---|||||txtccrPost-soul black cinema discontinuities, innovations, and breakpoints, 1970-1995 /William R. Grant, IVNew York :Routledge,2004.1 online resource (107 p.)Studies in African American history and cultureDescription based upon print version of record.0-415-65101-8 0-415-94768-5 Includes bibliographical references (p. 87-89) and indexes.Cover; STUDIES IN AFRICAN AMERICAN HISTORY AND CULTURE; Title Page; Copyright Page; Table of Contents; FOREWORD; PREFACE; ACKNOWLEDGMENTS; INTRODUCTION; Rebirth; The Stereotype; Literature Review; Chapter Descriptions; RACE AND REPRESENTATION IN THE CLASSICAL STYLE; The Classical Hollywood Cinema; Early Images of Blacks in American Cinema; THE POLITICAL ECONOMY OF BLAXPLOITATION; We Shall Overcome; A Star Is Dying: Sidney Poitier and the Death of Uncle Tom; The Big Break and a Hero Named Sweetback; The Great Flood; Cashing In and Selling Out; I See Death around the CornerDO THE RIGHT THING REVISITEDThe Check Is in the Mail; Pre-Production, Film Trade Unions, and Doing the Right Thing; Do the Right Thing Meets the Press; CHECK THE GATE: BLACK CINEMA AT THE CROSSROADS; Does We Still Have to Shuffle?; Re-Thinking a Black Film Aesthetic; APPENDIX A; Text of a Letter Sent to the Motion Picture Association of America and Announced at a Press Conference in Los Angeles, March 22, 1971; APPENDIX B; Brief Plot Summary of Sweet Sweetback's Baadasssss Song; APPENDIX C; Brief Plot Summary of Do The Right Thing; NOTES; BIBLIOGRAPHY; INDEX OF FILM TITLES; SUBJECT INDEXThis work examines and analyzes how the cinematic image of African Americans became a fixed image with strict rules of depiction both written and unwritten. And, how those very limited and under-informed images would not and could not be challenged or transformed until the power relations in the American film industry began to change and afforded blacks the opportunity at the very least to tell stories from an informed position.Studies in African American history and culture.African Americans in motion picturesElectronic books.African Americans in motion pictures.791.43/652996073Grant W. R.1967,987006MiAaPQMiAaPQMiAaPQBOOK9910450986203321Post-soul black cinema2255541UNINA03962nam 2200781Ia 450 991095469180332120251030192609.09786612531491978128253149912825314929781400834327140083432510.1515/9781400834327(PPN)291030106(CKB)2670000000009444(EBL)485805(OCoLC)609856436(SSID)ssj0000362333(PQKBManifestationID)11243961(PQKBTitleCode)TC0000362333(PQKBWorkID)10362412(PQKB)10041139(MiAaPQ)EBC485805(OCoLC)609873756(MdBmJHUP)muse36589(DE-B1597)446854(OCoLC)979579284(DE-B1597)9781400834327(Au-PeEL)EBL485805(CaPaEBR)ebr10367229(CaONFJC)MIL253149(Perlego)734805(iGPub)PUPB0001705(EXLCZ)99267000000000944420090928d2010 uy 0engurcn|||||||||txtccrLast looks, last books Stevens, Plath, Lowell, Bishop, Merrill /Helen VendlerCourse BookPrinceton, NJ Princeton University Press20101 online resource (165 p.)The A.W. Mellon lectures in the fine arts ;2003Bollingen series ;XXXV, 56Description based upon print version of record.9780691145341 0691145342 Includes bibliographical references and index.Front matter --Contents --Acknowledgments --1. Introduction: Last Looks, Last Books --2. Looking at the Worst: Wallace Stevens's The Rock --3. The Contest of Melodrama and Restraint: Sylvia Plath's Ariel --4. Images of Subtraction: Robert Lowell's Day by Day --5. Caught and Freed: Elizabeth Bishop and Geography III --6. Self-Portraits While Dying: James Merrill and A Scattering of Salts --Notes --The Andrew W. Mellon Lectures in the Fine Arts, 1952-2007In Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.A.W. Mellon lectures in the fine arts ;2003.Bollingen series ;XXXV, 56.American poetry20th centuryHistory and criticismDeath in literatureAmerican poetryHistory and criticism.Death in literature.811.509811/.5093548Vendler Helen1933-2024.1812478MiAaPQMiAaPQMiAaPQBOOK9910954691803321Last looks, last books4451243UNINA