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Books on the topic 'Race in film'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Naveen, Joshi, and India. Ministry of Information and Broadcasting. Publications Division., eds. Conscience of the race: India's offbeat cinema. New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India, 2005.

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2

Nama, Adilifu. Black space: Imagining race in science fiction film. Austin: University of Texas Press, 2008.

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3

Willis, Sharon. High contrast: Race and gender in contemporary Hollywood film. Durham, N.C: Duke University Press, 1997.

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4

Ryo, Hirabayashi Lane, ed. Reversing the lens: Ethnicity, race, gender, and sexuality through film. Boulder: University Press of Colorado, 2003.

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5

Gurr, Barbara, ed. Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6.

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6

Council, Human Science Research, ed. Static: Race and representation in post-apartheid music, media and film. Cape Town, South Africa: HSRC Press, 2012.

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7

Reznik, David L. New Jews?: Race and American Jewish identity in 21st-century film. Boulder: Paradigm Publishers, 2012.

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8

Tomaselli, Keyan G. The cinema of apartheid: Race and class in South African film. New York: Smyrna/Lake View Press, 1988.

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9

New Jews?: Race and American Jewish identity in 21st-century film. Boulder: Paradigm Publishers, 2012.

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10

Tomaselli, Keyan. The cinema of apartheid: Race and class in South African film. London: Routledge, 1989.

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11

Sean, Griffin, ed. America on film: Representing race, class, gender, and sexuality at the movies. 2nd ed. Malden, MA, USA: Wiley-Blackwell, 2009.

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12

From Sweetback to Super Fly: Race and film audiences in Chicago's loop. Columbia: University of Missouri Press, 2015.

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13

Sean, Griffin, ed. America on film: Representing race, class, gender, and sexuality at the movies. Malden, MA: Blackwell Pub., 2004.

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14

Masculinity in the interracial buddy film. Jefferson, N.C: McFarland, 2006.

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15

Passing strange: Shakespeare, race, and contemporary America. Oxford: Oxford University Press, 2011.

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16

S, Block Eleanor, ed. Projecting ethnicity and race: An annotated bibliography of studies on imagery in American film. Westport, Conn: Praeger, 2003.

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17

Disney's most notorious film: Race, convergence, and the hidden histories of Song of the South. Austin: University of Texas Press, 2012.

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18

Shimizu, Celine Parrenas. The hypersexuality of race: Performing Asian/American women on screen and scene. Durham, NC: Duke University Press, 2008.

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19

Danelii︠a︡, Georgiĭ Nikolaevich, and Viktorii︠a︡ Tokareva. Sovsem propashchiĭ. Moskva: Krupnyĭ plan, 2004.

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20

Race, Philosophy, and Film. Routledge, 2013.

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21

Race in American film. ABC-CLIO, 2017.

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22

Flory, Dan, and Mary K. Bloodsworth-Lugo. Race, Philosophy, and Film. Taylor & Francis Group, 2015.

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23

Weisenfeld, Judith. Race, Religion, and Documentary Film. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.2.

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This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience members and critics nevertheless took their representations of the religious practices of Africans and Native Americans to be truthful and invested in the films’ authenticity because their visual codes, narratives, and advertising confirmed accepted stereotypes about race, religion, and capacity for civilization. Examining these two films in the context of the broader history of documentary representations of race and religion—from travelogues, adventure, ethnographic, and expeditionary films through more recent productions—this chapter explores how the genre has helped to shape and communicate ideas about race and religion.

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24

McCarroll, Meredith. Unwhite: Appalachia, Race, and Film. University of Georgia Press, 2018.

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25

1963-, Williams James S., and Sayers Janet, eds. Revisioning Duras: Film, race, sex. Liverpool: Liverpool University Press, 2000.

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26

Unwhite: Appalachia, Race, and Film. University of Georgia Press, 2018.

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27

McCarroll, Meredith. Unwhite: Appalachia, Race, and Film. University of Georgia Press, 2018.

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28

Williams, James S. Revisioning Duras: Film, Race, Sex. Liverpool University Press, 2001.

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29

Williams, James S. Revisioning Duras: Film, Race, Sex. Liverpool University Press, 2001.

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30

Screening Race in American Nontheatrical Film. Duke University Press, 2019.

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31

Race And Gender In American Film. Pearson Learning Solutions, 2009.

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32

Gordon, Marsha, and Allyson Nadia Field. Screening Race in American Nontheatrical Film. Duke University Press, 2019.

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33

Gordon, Marsha, and Allyson Nadia Field. Screening Race in American Nontheatrical Film. Duke University Press, 2019.

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34

Sim, Gerald. The Subject of Film and Race. Bloomsbury Publishing Inc, 2014. http://dx.doi.org/10.5040/9781501300141.

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35

Field, Allyson Nadia, and Marsha Gordon, eds. Screening Race in American Nontheatrical Film. Duke University Press, 2019. http://dx.doi.org/10.1215/9781478005605.

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36

Carr, Steven. Immigration, Race, and Ethnicity in American Film. Edited by Ronald H. Bayor. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199766031.013.026.

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The rise of the American motion picture corresponds to the influx of immigrants from Eastern and Southern Europe. Just as many of these immigrants initially settled in East Coast and Midwest cities, both movies and movie audiences emerged there as an urban phenomenon. Rather than view this phenomenon only in terms of the images that films of this era offered, this chapter proposes to move beyond a “reflection paradigm” of film history. Of course, film texts reflected immigrant, ethnic, and racial identities. But these identities also existed beyond the text, across movies and movie-going, and embedded within diffuse, multiple, and overlapping networks of imagined relationships. Using Bakhtin’s concept of the chronotope, this chapter recounts some preliminary case studies involving race, ethnicity, and immigration to explore how future research in this area might probe the cultural practices of movie-going among diverse audiences during the first half of the twentieth century.

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37

Marez, Curtis. University Babylon: Film and Race Politics on Campus. University of California Press, 2019.

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38

Black Space: Imagining Race in Science Fiction Film. University of Texas Press, 2008.

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39

Nama, Adilifu. Black Space: Imagining Race in Science Fiction Film. University of Texas Press, 2008.

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40

Marez, Curtis. University Babylon: Film and Race Politics on Campus. University of California Press, 2019.

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41

University Babylon: Film and Race Politics on Campus. University of California Press, 2019.

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42

Charbonneau, Stephen. Projecting Race: Postwar America, Civil Rights and Documentary Film. Columbia University Press, 2016.

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43

Charbonneau, Stephen. Projecting Race: Postwar America, Civil Rights and Documentary Film. Columbia University Press, 2016.

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44

Race, Gender, and Film Censorship in Virginia, 1922-1965. Lexington Books/Fortress Academic, 2015.

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45

Charbonneau, Stephen. Projecting Race: Postwar America, Civil Rights and Documentary Film. Columbia University Press, 2016.

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46

Childress, Mark. Crazy in Alabama: Film Tie-In. Random House UK Ltd, 2000.

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47

Childress, Mark. Crazy in Alabama: Film Tie-In. Random House UK Ltd, 2000.

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48

Live From the Moon: Film, Television and the Space Race. I. B. Tauris, 2009.

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49

Cinema of Apartheid: Race and Class in South African Film. Taylor & Francis Group, 2013.

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50

Tomaselli, Keyan. Cinema of Apartheid: Race and Class in South African Film. Taylor & Francis Group, 2016.

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