Academic literature on the topic 'Black Actresses'
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Journal articles on the topic "Black Actresses"
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Black, Cheryl. "Looking White, Acting Black: Cast(e)ing Fredi Washington." Theatre Survey 45, no. 1 (2004): 19–40. http://dx.doi.org/10.1017/s0040557404000031.
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In October 1926 a leading African-American newspaper, the Pittsburgh Courier, featured adjacent photographs of two young women with a provocative caption: “White Actresses Who Open with Robeson and Bledsoe on Broadway during Week.” The actresses featured were Lottice Howell, starring with Jules Bledsoe in the musical play Deep River, and Edith Warren, starring with Paul Robeson in the drama Black Boy. In reporting this latest bit of integrated casting, however, the Courier was wrong on two counts. First, they misidentified the photographs, identifying Howell as Warren and Warren as Howell; and second, they misidentified Warren, whose real name was Fredi Washington, as “white.” Washington (who dropped the stage name during previews) was, by self-identification, Negro, or, in the language of the Savannah official who recorded her birth in 1903, “colored.”
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Shih, Yi-Chin. "Jim Crow Onstage: Three Black Actresses in Alice Childress’s Plays." CEA Critic 83, no. 1 (2021): 69–86. http://dx.doi.org/10.1353/cea.2021.0008.
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Krasner, David, and Jo A. Tanner. "Dusky Maidens: The Odyssey of the Early Black Dramatic Actresses." Theatre Journal 46, no. 3 (1994): 434. http://dx.doi.org/10.2307/3208634.
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Wanzo, Rebecca. "Beyond a ‘Just’ Syntax: Black Actresses, Hollywood and Complex Personhood." Women & Performance: a journal of feminist theory 16, no. 1 (2006): 135–52. http://dx.doi.org/10.1080/07407700500515985.
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Ebtesam M., El-Shokrofy, and Asmaa Awad Ahmed. "Black Women Comics: Sensuality and Intersectionality." Interdisciplinary Literary Studies 24, no. 1 (2021): 33–53. http://dx.doi.org/10.5325/intelitestud.24.1.0033.
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ABSTRACT Can sexual jokes and raunchy routines of black women be used to address serious social, religious, and political issues? This article attempts to answer these questions by applying Patricia Collins’s intersectional theory to some selected works by these American actresses and comedians: La Wanda Page, Thea Vidale, Sheryl Underwood, Amanda Seales, Hope Flood, and Simply Marvellous. In an attempt to gain power, self-assertion, and liberty, these comedians employ vulgarity and sexual allusions to openly reveal the three taboos of the society. Being openly performed using the bodies as a way of narrative expression, stand-up comedy allows a mixture of both street culture and pornography to gradually emerge on the surface and open the floor to more black women comedians to join the trend. Using Patricia Collins’s intersectional theory, this article addresses the social, religious, and political issues raised in the selected comedians’ raunchy works and also examines the factors leading to the emergence of this black feminist trend from 1970s to 2000s.
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Mask, Mia. "Monster's Ball." Film Quarterly 58, no. 1 (2004): 44–55. http://dx.doi.org/10.1525/fq.2004.58.1.44.
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Abstract More African Americans appear on network and cable television than ever before. Yet there are few quality dramatic roles for black actresses. The critical attention and public controversy surrounding Marc Forster's Monster's Ball (2001) demonstrated the existence of an audience for independent, art-house cinema featuring serious African-American characters. It's unfortunate that when read against the identity categories of race, gender, class, and region, Halle Berry's Leticia Musgrove seems to be a conflation of stereotypes: the sexual siren and the welfare queen.
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Mirković, Saša. "Physical and Virtual Performance: From The Black Ribbon, The Women in Black, to the Film Industry." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 129. http://dx.doi.org/10.25038/am.v0i18.292.
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This article aims to compare the physical and virtual performance embodied in the anti-war campaign Black Ribbon and Women in Black performances, and Hollywood actresses’ gowns at the prestigious award event, supporting the #MeToo campaign, as well as to prove that, except for the black color permeating them all, significant difference in the success of these performances is caused not only by technological advancement, but also by the circumstances and the context they take place in. The idea is to analyze in chronological review, using literature and archival material, the symbolism of the color black in performances connecting antiwar activists, citizens, the non-governmental sector and the film industry.The article will deal with the motives behind the narratives of the mentioned actions, as well as the scope of these performances, from stopping a war, punishment of war criminals, to prosecution for years of sexual harassment of women. It will stress the importance of the constant fight against the culture of impunity in different areas, and the importance of the contribution of technological development during the past 30 years, for moving the above-mentioned ‘black color’ performances, from the real to the virtual world. Here, this shift will be symbolized by space-restricted performances ranging from mass street protest marches to #MeToo. Article received: December 30, 2018; Article accepted: January 31, 2019; Published online: April 15, 2019; Review articleHow to cite this article: Mirković, Saša. "Physical and Virtual Performance: From The Black Ribbon, The Women in Black, to the Film Industry." AM Journal of Art and Media Studies 18 (2019): 129−140. doi: 10.25038/am.v0i18.292
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Speaks, Hannah, Alyssa Falise, Kaitlin Grosgebauer, Dustin Duncan, and Adam Carrico. "Racial Disparities in Mortality Among American Film Celebrities: A Wikipedia-Based Retrospective Cohort Study." Interactive Journal of Medical Research 8, no. 4 (2019): e13871. http://dx.doi.org/10.2196/13871.
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Background In the United States, well-documented racial disparities in health outcomes are frequently attributed to racial bias and socioeconomic inequalities. However, it remains unknown whether racial disparities in mortality persist among those with higher socioeconomic status (SES) and occupational prestige. Objective As the celebrity population is generally characterized by high levels of SES and occupational prestige, this study aimed to examine survival differences between black and white film celebrities. Methods Using a Web-based, open-source encyclopedia (ie, Wikipedia), data for 5829 entries of randomly selected American film actors and actresses born between 1900 and 2000 were extracted. A Kaplan-Meier survival curve was conducted using 4356 entries to compare the difference in survival by race. A Cox semiparametric regression analysis examined whether adjusting for year of birth, gender, and cause of death influenced differences in survival by race. Results Most celebrities were non-Hispanic white (3847/4352, 88.4%), male (3565/4352, 81.9%), and born in the United States (4187/4352, 96.2%). Mean age at death for black celebrities (64.1; 95% CI 60.6-67.5 years) was 6.4 years shorter than that for white celebrities (70.5; 95% CI 69.6-71.4 years; P<.001). Black celebrities had a faster all-cause mortality rate using Kaplan-Meier survival function estimates and a log-rank test. However, in a Cox semiparametric regression, there was no longer a significant difference in survival times between black and white celebrities (hazard ratio 1.07; 95% CI 0.87-1.31). Conclusions There is some evidence that racial disparities in all-cause mortality may persist at higher levels of SES, but this association was no longer significant in adjusted analyses. Further research is needed to examine if racial disparities in mortality are diminished at higher levels of SES among more representative populations.
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NIJHAWAN, SHOBNA. "Nationalizing the Consumption of Tea for the Hindi Reader: The Indian Tea Market Expansion Board's advertisement campaign." Modern Asian Studies 51, no. 5 (2017): 1229–52. http://dx.doi.org/10.1017/s0026749x16000287.
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AbstractIn analysing a campaign launched by the Indian Tea Market Expansion Board in a Hindi literary periodical, this article seeks to read tea advertisements within the cultural history of gendered lives and nationalism in the decade leading up to Indian Independence. More specifically, it explores how multiple versions of feminized Indian modernity came to feature in the construction of black tea as a healthy, social, and national beverage. As the habit and custom of tea drinking was not common amongst the Indian population of the first half of the twentieth century, the advertisements focused on the creation of a culture of ‘proper’ tea preparation and ‘correct’ consumption. Not only did the middle-class woman and her family feature centrally in these advertisements; aristocratic and working women as well as movie actresses were all associated with the beverage drunk to reenergize and savour. While the advertisements addressed middle-class society and consciousness, this article argues that they did so by also drawing on, and not distancing from, diverse class, caste, and professional contexts.
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KHALIL-BUTUCIOC, Dorina. "„(Mono)dramas of unknown women” at „Mihai Eminescu” National Th eater in Chisinau." Arta 31, no. 2 (2023): 72–77. http://dx.doi.org/10.52603/arta.2022.31-2.10.
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Th e female characters of the mono-shows in the „Valeriu Cupcea” Studio Hall of the „Mihai Eminescu” National Th eater in Chisinau soar, mutely or tumultuously, „In search of the lost self ”. With a test of high quality talent, Diana Decuseară demonstrated this in the monodrama directed by Vitalie Drucec I’m afraid of the Black Sea (2010), aft er the play Nudistii by Irina Nechit, dedicated to the problems and condition of women in society. The inner turmoil of the Beloved from the show Letter from an unknown woman (2014), by Stefan Zweig, directed by Nugzar Lordkipanidze (Georgia), are rendered in depth by Ana Tkacenko, who externalizes in filigree the dramatic and scenic transformation of her heroine. In the Maria Tănase one-man show I would die, death does not come to me (2017), directed by Nelly Cozaru, the knot of life „Th e Master Birds of the Romanian Song” is skillfully handled by Ecaterina Mardari, who masterfully carries her character on the road of the ages of human life. The tonalities of the actresses’ monologues are subtle and appropriate, balancing humor and irony with omnipresent sadness, without slipping into the pathetic. Th e three performances sensitize the spectators and invite them from a collective therapy to a cathartic participation.
Dissertations / Theses on the topic "Black Actresses"
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Villot, Janine Marie. "Refiguring Indexicality: Remediation, Film, & Memory in Contemporary Japanese Visual Media." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4603.
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Through an analog between film and memory, I argue contemporary Japanese visual media constantly remediates this relationship in order to develop a more inclusive, plastic indexicality that allows media without direct material contiguity access to an indexicality not typically attributed to it. Amidst the early twenty-first century shift from old, mechanical media to new, electronic media, each Japanese text engages the West through intercultural discourses and intracultural responses, just as Japan has continually encountered the West since its forced opening by Commodore Perry in 1853. The plasticized indexicality figured by contemporary Japanese visual media implies the plastic nature of abstracted referents such as memory. I examine these issues through three texts, each representing three different contemporary Japanese visual media forms: the live-action film, After Life (Kore-eda Hirokazu, 1998), the anime film, Millennium Actress (Satoshi Kon, 2003), and the manga, Black Butler (Yana Toboso, 2006-ongoing). Each text remediates film and memory as analogs in ways particular to their own medium to refigure indexicality as inclusive of their own medium, revealing a cultural discourse wherein contemporary Japanese visual media engage with abstracted realities such as memory.
By plasticizing and abstracting the index through its remediation of film and memory, contemporary Japanese visual media reveal visual media's, especially anime's and manga's, ability to relate to culture. Their refigured index is inclusive of all visual media, allowing each the opportunity to index subjective memory and experience. After Life introduces this possibility by privileging its memory-film recreations as a higher fidelity index to memory than documentary, though documentary's remediation informs this index. Both Millennium Actress and Black Butler extend After Life's inclusive possibilities to suggest that their painterly realities are not divorced from reality, but rather representative of its decentered reception as subjective experience and memory. As media technology extends human beings, through new media such as the internet, it also abstracts us from certain material interactions such as reading paperback books or speaking to friends rather than texting them. Contemporary Japanese visual media suggest that as old media make way for new media, we should readjust our preconceptions about media's relations to culture, for as our world becomes digitized, even animated, the painterly realities found in film, anime, and manga bear more relevance than ever to how we construct our worlds, inside Japan and across the world.
Books on the topic "Black Actresses"
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Almada, Sandra. Damas negras: Sucesso, lutas, discriminação. Mauad, 1995.
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El arte para mí fue un reto. Ediciones UNIÓN, 2004.
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Shirley Temple Black. Dominie Press, 2002.
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Haskins, James. Shirley Temple Black: Actress to ambassador. Viking Kestrel, 1988.
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ill, Ruff Donna, ed. Shirley Temple Black: Actress to ambassador. Puffin Books, 1989.
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Black stars. PAC, 1985.
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Shirley Temple Black: Actor and diplomat. Ferguson Pub., 2000.
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Houston, Tory. The legend of Lacy Black. Leisure Books, 2002.
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Mitchell, Susan K. Jack Black. Gareth Stevens Pub., 2008.
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Watts, Jill. Hattie McDaniel: Black ambition, White Hollywood. Amistad, 2005.
Book chapters on the topic "Black Actresses"
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Mitchell, Jasmine. "Framing Blackness and Mixedness." In Imagining the Mulatta. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043284.003.0003.
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Chapter 2 focuses on mass-market newspaper and magazine depictions of actresses Jennifer Beals and Halle Berry in the United States and Camila Pitanga in Brazil. The chapter begins by laying out the national policy debates such as census racial categories and affirmative action in the 1990s and 2000s in order to relate how the media framing of these celebrities engages with changing ideas of race while at the same time furthering feminized racial commodification. Examining how these actresses negotiate and position themselves in relation to racial categories and racial discourses, the chapter explores how mixed black female celebrities serve as lightning rods for discussions of race, gender, and sexuality.
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Anae, Nicole. "“They Will All Be My Color”." In To Turn the Whole World Over. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042317.003.0007.
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Nina Mae McKinney (1912-1967), American star of stage and screen, arrived in Australia in 1937 as the leading lady of a vaudeville theatrical performance. She was the first African American film actress to appear in Australia, and the sheer scope of her media interest produced reviews of performances, stories of her film career, and commentaries of her associations with other African Americans of contemporary interest. Taken together, this ephemera makes for instructive reading as iterations responsive to black internationalism as expressed by a woman who had been marginalized by Hollywood’s racial climate but reified internationally as a major talent. Through a critical examination of McKinney’s Australian press, this essay offers a comprehensive rereading of McKinney’s public presence in Australia through the lens of black internationalism.
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Carlin, Richard, and Ken Bloom. "Shuffling On." In Eubie Blake. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635930.003.0006.
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This chapter discusses the aftermath of the success of Shuffle Along; Eubie’s ten-year relationship with lead actress Lottie Gee and the strains it put on his marriage and his partnership with Sissle; and the first touring companies. It also describes how Josephine Baker joined the main company in Boston and made a success as a comic chorus girl and the troupe’s grand reception in Chicago after their successful Boston run. Furthermore, the chapter examines white critics’ discomfort with the success enjoyed by the show’s writers and their concerns about black actors breaking from stereotypical roles; Blake’s triumphant return to Baltimore and his mother’s continuing disapproval of his secular career; Sissle and Blake’s recordings for Victor Records; growing tensions with Miller and Lyles that led to a breakup of their partnership; and how Sissle and Blake’s next show, In Bamville, hit the road to mixed receptions.
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Snyder, Sherri. "Sixteen." In Barbara La Marr. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813174259.003.0017.
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This chapter lays the foundation for the ultimate trajectory of Barbara’s career as a film actress, concurrently providing plot, production, and critical reception information for each film addressed. Following her appearance inDesperate Trails (1921), a relatively small-scale film,The Three Musketeers (1921) is released, smashing box office records worldwide and providing her with far-reaching exposure. Barbara and Ben Deely, meanwhile, permanently separate. Barbara’s typecasting as a vampire (vamp) is more firmly established after her role in Cinderella of the Hills (1921). Intensive treatment is given to the dynamics behind the emergence of the vamp stereotype into mainstream American culture and its effect upon film industry trends at the time. Barbara is cast by leading director Rex Ingram alongside Ramon Novarro in two films, The Prisoner of Zenda (1922) and Black Orchids (1922), the latter of which will have an indelible bearing upon her career, vamp typecasting, and public image.
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Forshaw, Barry. "After the Silence." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0006.
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This chapter addresses the sequel to The Silence of the Lambs (1991), Ridley Scott's Hannibal (2001). Both the colour palette and the tone of the new film were different from its predecessor, with a greater emphasis on primary colours and atmospheric chiaroscuro effects, and the material's black humour more accentuated. In keeping with the director's expertise in the realm of the epic, Hannibal was placed within a much more geographically sprawling canvas, with a great deal of the film shot in a beautifully evoked Florence, the city in which Hannibal Lecter is masquerading as the expert in Renaissance art, ‘Dr Fell’. Ridley Scott's assumption of the directorial reins proved highly successful and the film enjoyed immense popularity, breaking several box office records as it wittily opened on Valentine's Day of 2001. If the talented Julianne Moore was able to do less with the character of Clarice Starling than her predecessor, this was perhaps due to the extra level of confidence the FBI agent has acquired by this stage of her life. Professional though the actress's work was throughout, neither she nor her director could produce the kind of touching verisimilitude that was Jodie Foster's stock-in-trade in the first film. The chapter then looks at the prequels: Brett Ratner's Red Dragon (2002) and Peter Webber's Hannibal Rising (2007).