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[null,"1.","Record Nr.",null,"UNINA9910825663303321"]
[null,null,"Autore",null,"Lupack Barbara Tepa"]
[null,null,"Titolo",null,"Richard E. Norman and race filmmaking / / Barbara Tepa Lupack ; foreword by Michael T. Martin"]
[null,null,"Pubbl/distr/stampa",null,"Bloomington : , : Indiana University Press, , [2014]"]
[{"$nulls":4},"©2014"]
[null,null,"ISBN",null,"0-253-01056-X"]
[{"$nulls":4},"0-253-01072-1"]
[null,null,"Descrizione fisica",null,"1 online resource (400 p.)"]
[null,null,"Disciplina",null,"791.43/0233/092"]
[null,null,"Soggetti",null,"Race films"]
[{"$nulls":4},"African Americans in motion pictures"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"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."]
[null,null,null,"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"]