03968nam 2200649 450 991080774280332120230808213139.01-4773-0909-810.7560/309070(CKB)3710000000563284(EBL)4397291(SSID)ssj0001594328(PQKBManifestationID)16287581(PQKBTitleCode)TC0001594328(PQKBWorkID)13191278(PQKB)11122791(MiAaPQ)EBC4397291(Au-PeEL)EBL4397291(CaPaEBR)ebr11160973(OCoLC)934433784(DE-B1597)587232(DE-B1597)9781477309094(EXLCZ)99371000000056328420150701d2016 ub| 0engur|n|---|||||txtccrTrying to get over African American directors after blaxploitation, 1977-1986 /Keith CorsonFirst edition.Austin :University of Texas Press,2016.1 online resource (288 p.)Description based upon print version of record.1-4773-0907-1 Includes bibliographical references and index.Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter One. Blaxploitation Reconsidered -- Chapter Two. Our Man in Hollywood -- Chapter Three. Writing His Second Act -- Chapter Four. Think Locally, Act Globally -- Chapter Five. Outside of Society -- Chapter Six. Dreams Deferred -- Chapter Seven. Dirty Minds Reformed -- Conclusion -- Filmography, 1969–1994 -- Notes -- Bibliography -- IndexFrom 1972 to 1976, Hollywood made an unprecedented number of films targeted at black audiences. But following this era known as “blaxploitation,” the momentum suddenly reversed for black filmmakers, and a large void separates the end of blaxploitation from the black film explosion that followed the arrival of Spike Lee’s She's Gotta Have It in 1986. Illuminating an overlooked era in African American film history, Trying to Get Over is the first in-depth study of black directors working during the decade between 1977 and 1986. Keith Corson provides a fresh definition of blaxploitation, lays out a concrete reason for its end, and explains the major gap in African American representation during the years that followed. He focuses primarily on the work of eight directors—Michael Schultz, Sidney Poitier, Jamaa Fanaka, Fred Williamson, Gilbert Moses, Stan Lathan, Richard Pryor, and Prince—who were the only black directors making commercially distributed films in the decade following the blaxploitation cycle. Using the careers of each director and the twenty-four films they produced during this time to tell a larger story about Hollywood and the shifting dialogue about race, power, and access, Corson shows how these directors are a key part of the continuum of African American cinema and how they have shaped popular culture over the past quarter century.African Americans in motion picturesAfrican Americans in the motion picture industryAfrican American motion picture producers and directorsMotion picturesUnited StatesHistory21st centuryBlaxploitation filmsUnited StatesHistory and criticismAfrican Americans in motion pictures.African Americans in the motion picture industry.African American motion picture producers and directors.Motion picturesHistoryBlaxploitation filmsHistory and criticism.791.43/652996073Corson Keith1720925MiAaPQMiAaPQMiAaPQBOOK9910807742803321Trying to get over4120016UNINA