Black City Cinema: African American Urban Experiences In Film PDF
Preview Black City Cinema: African American Urban Experiences In Film
Copyrighted Material Copyrighted Material In the series Culture and the Moving Image edited by Robert Sklar Copyrighted Material AFRICAN AMERICAN URBAN EXPERIENCES IN FILM Paula J. Massood Temple University Press PHILADELPHIA Copyrighted Material Temple University Press, Philadelphia 19122 Copyrighr © 2003 by Temple University All rights reserved Published 2003 Primed in the Unired Srares of America @The paper used in this publication meers the requirements of the American National Sran dard for Information Sciences-Permanence of Paper for Primed Library Marerials, ANSI Z3 9 .48-1984 Library of Congress Caraloging-in-Publication Dara ISBN-13 978-1-59213-003-0 Massood, Paula]., 1965- Black city cinema: African American urban experiences in film / Paula]. Massood. p. cm. - (Culrure and the moving image) Includes bibliographical references and index. ISBN 1-59213-002-X (cloth: alk. paper) - ISBN 1-59213-003-8 (pbk. : alk. paper) 1. African Americans in motion picrures. 2. City and [Own life in motion picrures. 3. Motion picrures-Unired Srates. I. Tide. II. Series. PN19959.N4 MB 2003 791.43 '6520396073-dc21 2002020421 Copyrighted Material to maHhew boyd goldie, with love Copyrighted Material If, after years of travel, the city on a hill appears no closer, should we ask whether or not it's a mirage? -Charles Scruggs (1993) Copyrighted Material Contents Acknowledgments IX Introduction: Migrations, Movies, and African American Cities on the Screen The Antebellum Idyll and Hollywood's Black-Cast Musicals 11 2 Harlem is Heaven: City Motifs in Race Films from the Early Sound Era 45 3 Cotton in the City: The Black Ghetto, Blaxploitation, and Beyond 79 4 Welcome to Crooklyn: Spike Lee and the Rearticulation of the Black Urbanscape 117 5 Out of the Ghetto, into the Hood: Changes in the Construction of Black City Cinema 145 6 Taking the A-Train: The City, the Train, and Migration in Spike lee's Clockers 175 Epilogue: New Millennium Minstrel Shows? African American Cinema in the Late 1990s 207 Notes 227 Index 257 VII Copyrighted Material Acknowledglllents xpressing my gratitude to the individuals and institutions who supported me is both the most daunting and the most pleasurable part of this whole process. It's daunting because it has made me realize the unlimited generosity of the many colleagues, friends, and family members who helped made this book possible. It's pleasurable because it is a reminder that writing a book is never really an individual act and that the author is surrounded by supporters even when writing seems so terribly solitary. The thanks that I've listed here can only begin to convey my gratitude to all who helped along the way. I hope that everyone involved realizes the true ex tent of my appreciation for everything they've done toward the completion of this study. I would like to thank the Cinema Studies Department at New York University, where the seeds of this book were first sown. Robert Starn has been a principal influence since the very beginning of this project, offering his insights into many of the texts discussed. His seminal work on Mikhail Bakhtin and his unceasing encouragement have shaped this study every step of the way. Ed Guerrero's scholarship has also been an influence on my work and began even before he came to NYU. For that, and all his comments, sugges tions, questions, and friendship, I'm eternally grateful. Chris Straayer has been unflagging in her enthusiasm and support, no matter how many pages I asked her to read. She is a model scholar and teacher. Many thanks also to Toby Miller and Manthia Diawara; Toby, for offering support and guidance IX Copyrighted Material
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