Hollywood's African American Films: The Transition to Sound

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9780813550497: Hollywood's African American Films: The Transition to Sound
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In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white "slumming" in African American cabarets and on the cultural linkage between popular black musical styles and "natural" acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies' treatment of African American characters' decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor.

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Ryan Jay Friedman is an assistant professor in the department of English and the program in film studies at The Ohio State University.

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"Friedman illuminates the brief profusion of African American musical features and shorts at the dawn of sound cinema, showing how these films emerged out of their era and set the stage for Hollywood treatments of Black images and sounds for years to come." (Arthur Knight author of Disintegrating the Musical)

"Hollywood's African American Films is a compelling exploration of the complex and often contradictory position(s) embodied by African American performers in early sound film. It is a model of rigorous research and textual analysis that analyzes Hollywood’s troubled nexus between race and representation and offers scholars new conclusions to old questions."

(Paula J. Massood author of Black City Cinema: African American Urban Experiences in Film)

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ISBN 10:  0813550483 ISBN 13:  9780813550480
Publisher: Rutgers University Press, 2011
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Book Description Rutgers University Press, United States, 2011. Paperback. Condition: New. Language: English . Brand New Book. In 1929 and 1930, during the Hollywood studios conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a vogue for Negro films. Hollywood s African American Films argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of talking pictures and, at the same time, to appeal to the white Broadway audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white slumming in African American cabarets and on the cultural linkage between popular black musical styles and natural acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies treatment of African American characters decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor. Seller Inventory # AAN9780813550497

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Book Description Rutgers University Press, United States, 2011. Paperback. Condition: New. Language: English . Brand New Book. In 1929 and 1930, during the Hollywood studios conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a vogue for Negro films. Hollywood s African American Films argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of talking pictures and, at the same time, to appeal to the white Broadway audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white slumming in African American cabarets and on the cultural linkage between popular black musical styles and natural acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies treatment of African American characters decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor. Seller Inventory # AAN9780813550497

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Book Description Rutgers University Press, United States, 2011. Paperback. Condition: New. None ed.. Language: English. Brand new Book. In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white "slumming" in African American cabarets and on the cultural linkage between popular black musical styles and "natural" acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies' treatment of African American characters' decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor. Seller Inventory # BTE9780813550497

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Book Description Rutgers University Press. Paperback. Condition: New. 288 pages. Dimensions: 8.9in. x 6.0in. x 0.7in.In 1929 and 1930, during the Hollywood studios conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a vogue for Negro films. Hollywoods African American Films argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of talking pictures and, at the same time, to appeal to the white Broadway audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white slumming in African American cabarets and on the cultural linkage between popular black musical styles and natural acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies treatment of African American characters decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Seller Inventory # 9780813550497

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