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Bogle Donald - Hollywood black: the stars, the films, the filmmakers

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The films, the stars, the filmmakers-all get their due inHollywood Black, a sweeping overview of blacks in film from the silent era throughBlack Panther, with striking photos and an engrossing history by award-winning author Donald Bogle.
The story opens in the silent film era, when white actors in blackface often played black characters, but also saw the rise of independent African American filmmakers, including the remarkable Oscar Micheaux. It follows the changes in the film industry with the arrival of sound motion pictures and the Great Depression, when black performers such as Stepin Fetchit and Bill Bojangles Robinson began finding a place in Hollywood. More often than not, they were saddled with rigidly stereotyped roles, but some gifted performers, most notably Hattie McDaniel inGone With the Wind(1939), were able to turn in significant performances.
In the coming decades, more black talents would light up the screen. Dorothy Dandridge became the first African American to earn a Best Actress Oscar nomination forCarmen Jones(1954), and Sidney Poitier broke ground in films likeThe Defiant Onesand1963sLilies of the Field.Hollywood Blackreveals the changes in images that came about with the evolving social and political atmosphere of the US, from the Civil Rights era to the Black Power movement. The story takes readers throughBlaxploitation, with movies likeShaftandSuper Fly, to the emergence of such stars as Cicely Tyson, Richard Pryor, Eddie Murphy, and Whoopi Goldberg, and of directors Spike Lee and John Singleton.
The history comes into the new millennium with filmmakers Barry Jenkins (Moonlight), Ava Du Vernay (Selma),and Ryan Coogler (Black Panther); megastars such as Denzel Washington, Will Smith, and Morgan Freeman; as well as Halle Berry, Angela Bassett, Viola Davis, and a glorious gallery of others.
Filled with evocative photographs and stories of stars and filmmakers on set and off,Hollywood Blacktells an underappreciated history as its never before been told.

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Copyright 2019 by Donald Bogle Hachette Book Group supports the right to free - photo 1

Copyright 2019 by Donald Bogle

Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

The scanning, uploading, and distribution of this book without permission is a theft of the authors intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact permissions@hbgusa.com. Thank you for your support of the authors rights.

Running Press

Hachette Book Group

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New York, NY 10104

www.runningpress.com

@Running_Press

First Edition: May 2019

Published by Running Press, an imprint of Perseus Books, LLC, a subsidiary of Hachette Book Group, Inc. The Running Press name and logo is a trademark of the Hachette Book Group.

The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to www.hachettespeakersbureau.com or call (866) 376-6591.

The publisher is not responsible for websites (or their content) that are not owned by the publisher.

Image credits: (bottom): Authors Collection; all other photography courtesy Turner Classic Movies, Inc.

The Oscar statuette Academy of Motion Picture Arts and Sciences OSCAR, OSCARS, ACADEMY AWARD, ACADEMY AWARDS, and the Oscar design mark are trademarks and service marks of the Academy of Motion Picture Arts and Sciences

Library of Congress Control Number: 2018959810

ISBNs: 978-0-7624-9141-4 (hardcover), 978-0-7624-9140-7 (ebook)

E3-20190312-JV-NF-ORI

For my parents, Roslyn and John.

And for three terrific Bogles: Roger, Jerry, and Jay.

Harry Belafonte and Dorothy Dandridge on the set of Bright Road I grew - photo 2

Harry Belafonte and Dorothy Dandridge on the set of Bright Road.

I grew up living behind a Los Angeles landmark, the Century Drive-In theater. At night, Id watch the images on two giant screens. Without hearing any sound, I could see horror movies, action films, and my favorites, Blaxploitation movies right outside my bedroom window. Images of Ron ONeal running in platform shoes and Pam Grier kicking ass and looking sexy occupied my young mind. I think that marked the beginning of my lifelong movie odyssey to see as many films as I could and to figure out the way that directors, writers, and actors told stories on screen. Because I was most affected by the black movies, I asked myself how those black people got on screen? Who put them there? Even then, my struggle was to make the fantasy of filmmaking become my reality.

Later, when I was a film student at the University of Southern California, I would glean everything I could about the history of blacks in cinema. As I began to watch the older pre-World War II movies and then the post-war black films that ran into the 60s and 70s, I noticed a significant change in the way African Americans were depicted. I could sense that in the early films, black actors were told by white filmmakers to smile broadly or to pop their eyes wider in this shot or that one. Those films were created for mainstream audiences; hence the various stereotyped racial tropes. The grinning, bug-eyed cartoonish images were there to make white folks feel comfortable. A lot of pure talent was twisted and distorted. But I also noticed other films in which black performers gave more nuanced, often moving performers, such as Louise Beavers and Fredi Washington as the black mother and her light-skinned daughter who are torn apart because of race in the original version of Imitation of Life. I also was impressed by the great Paul Robeson in the 1933 Emperor Jones. Here was a proud, defiant, strong, even arrogant black man determined to call the shots in his life, to be a master of his own destiny. Later, with the dramatic ascent of Sidney Poitier as a powerful actor in 1950s films like No Way Out and Blackboard Jungle, black Hollywood began to evolve. Watching the smoldering and sexually charged heat and passion of Dorothy Dandridge and Harry Belafonte in Carmen Jones, I know now that Dandridges strong screen presence was a revolutionary precursor to Halle Berrys Oscar winning performance in Monsters Ball.

At USC, my knowledge of movies that had come before, good and bad, was something that fortified me for my future as a filmmaker. I also had the benefit of entering college after having just seen Shes Gotta Have It. I was knocked out by it. And when I met its director, Spike Lee, I had the feeling I could be a part of a revolution, a new wave of African American filmmaking.

Reading Hollywood Black, Im carried back to my sense of discovery of black movie history, and looking through the pictures in this book, I am reminded of my emotions as I watched the films for the first time. Those emotions and images are indelible: Richard Roundtree in Shaft walking through Harlem head high, owning the street with his stroll; Cicely Tyson and Paul Winfield running to each other in Sounder; Richard Pryor in all his comic genius in Which Way Is Up; or Eddie Murphy with his cool swagger in Beverly Hills Cop. I recall the emotional surge I felt when seeing Do the Right Thing, a seminal film that pushed me as a film student to write the screenplay for Boyz N the Hood. I also remember the well in my heart at seeing the movie version of my childhood comic book hero, Black Panther.

John Singleton on the set of Boyz N the Hood This book brings all that back to - photo 3

John Singleton on the set of Boyz N the Hood.

This book brings all that back to me, and Ive been all the more enlightened by the great historical links between black filmmakers like Oscar Micheaux and Noble Johnson in the silent era to those bold dudes of the late 1960s and 1970s, such as Gordon Parks, Sr., and Melvin Van Peebles right up to filmmakers like myself and into the new millennium. It also shows the links between actors as diverse as Paul Robeson, Sidney Poitier, Denzel Washington, Will Smith, Viola Davis, Angela Bassett, and so many others. I found this book to be an enjoyable, insightful reflection of how, despite tremendous obstacles, black film artists triumphed in showing their humanity and their brilliance to the world.

Donald Bogles Hollywood Black: The Stars, the Films, the Filmmakers encapsulates the historical essence of the black movie-going experience in this country, and Im proud to be a part of it. This is an invaluable book that moviegoers have been waiting for and will treasure.

Sidney Poitier and Rod Steiger in In the Heat of the Night F or blacks in - photo 4

Sidney Poitier and Rod Steiger in In the Heat of the Night.

F or blacks in American movies, its been a long, sometimes turbulent, and often rocky journey throughout the twentieth century, into the twenty-first. Foremost, it is a journey that, surprisingly, is often unknown and rarely explored. Some moviegoers mistakenly assume that African Americans first worked in films sometime in the 1950s, with the emergence of such Eisenhower-age stars as Sidney Poitier and the often-neglected Dorothy Dandridge. Others also mistakenly believe that black filmmakers did not arrive on the scene until Spike Lee in the mid-1980s orfor those with deeper knowledgein the 1970s, with such bold and daring directors as Melvin Van Peebles and Gordon Parks Sr. and such well-known movies as

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