| |
| |
| Illustrations | |
| |
| |
| Preface to the New Third Edition | |
| |
| |
| Preface to the Expanded Edition | |
| |
| |
| Preface to the First Edition | |
| |
| |
| |
| Black Beginnings: from Uncle Tom's Cabin to The Birth of a Nation | |
| |
| |
| The Tom | |
| |
| |
| The Coon | |
| |
| |
| The Tragic Mulatto | |
| |
| |
| The Mammy | |
| |
| |
| The Brutal Black Buck and The Birth of a Nation | |
| |
| |
| |
| Into the 1920s: the Jesters | |
| |
| |
| |
| The 1930s: the Servants | |
| |
| |
| High-Steppin' Sir Stepin | |
| |
| |
| Waiting on West and Serving Shirley | |
| |
| |
| Mr. Bojangles: the Cool-Eyed Tom | |
| |
| |
| Clarence Muse: The Inhibited, Humanized Tom Standing in a Corner by Himself | |
| |
| |
| Imitation of Life: Mother Knows Best | |
| |
| |
| Iridescent Fredi: Black Girl in Search of a Black Role | |
| |
| |
| Louise Beavers: the Black Guardian Angel | |
| |
| |
| The Green Pastures | |
| |
| |
| Rex Ingram: First of the Freed Black Men | |
| |
| |
| Stepin's Step-Chillun | |
| |
| |
| Rochester: The Gentleman's Gentleman | |
| |
| |
| Hi-Hat Hattie | |
| |
| |
| Gone with the Wind: Black Realities and the End of a Tradition | |
| |
| |
| Paul Robeson: the Black Colossus | |
| |
| |
| |
| The Interlude: Black-Market Cinema | |
| |
| |
| Oscar Micheaux | |
| |
| |
| |
| The 1940s: the Entertainers, the New Negroes, and the Problem People | |
| |
| |
| The Entertainers | |
| |
| |
| Hazel Scott: Miss Proper Middle-Class Lady | |
| |
| |
| Lena Horne: Black Beauty in Residence | |
| |
| |
| Cabin in the Sky | |
| |
| |
| Stormy Weather | |
| |
| |
| Bits and Pieces of Black Action | |
| |
| |
| Song of the South | |
| |
| |
| The New Negroes: An Interim | |
| |
| |
| The Problem People | |
| |
| |
| Home of the Brave and the Postwar Good Sensitive Negro | |
| |
| |
| Lost Boundaries' Tragic Mulattoes | |
| |
| |
| Pinky's Tragic Mulatto and Its Strong Black Woman | |
| |
| |
| Intruder in the Dust and the Defiantly Proud Black Man | |
| |
| |
| |
| The 1950s: Black Stars | |
| |
| |
| Ethel Waters: Earth Mother for an Alienated Age | |
| |
| |
| Dorothy Dandridge: Apotheosis of the Mulatto | |
| |
| |
| Sidney Poitier: Hero for an Integrationist Age | |
| |
| |
| Black Odds and Ends | |
| |
| |
| |
| The 1960s: Problem People into Militants | |
| |
| |
| Steps Forward | |
| |
| |
| Black Art Films | |
| |
| |
| A Step Backward: Ossie Davis and Gone Are the Days | |
| |
| |
| Along the Road, in Harlem, and on the Subway | |
| |
| |
| Way Down in de New Ole South with Tom-Tom, Miss Bronze Barbie Doll, and Ms. Militant Mammy | |
| |
| |
| A Man Called Adam and the Son of Sunshine Sammy | |
| |
| |
| Super Sidney of the 1960s | |
| |
| |
| Jim Brown: Black Buck Hero for a Separatist Age | |
| |
| |
| The New-Style Black Film | |
| |
| |
| |
| The 1970s: Bucks and a Black Movie Boom | |
| |
| |
| Preludes | |
| |
| |
| Melvin Van Peebles: The Black Movie Director as Folk Hero | |
| |
| |
| Shaft: He's a Badd Mother - Shut Your Mouth | |
| |
| |
| Super Fly: Mixed Messages | |
| |
| |
| Buckmania | |
| |
| |
| The Jock as Movie Star | |
| |
| |
| Lady Sings the Blues: Black Stars, Black Romance | |
| |
| |
| Sounder | |
| |
| |
| Sidney Strikes Again | |
| |
| |
| Superbadd, Supermama | |
| |
| |
| Sisters in Distress | |
| |
| |
| Other Films, Other Voices | |
| |
| |
| Richard Pryor: The Crazy Nigger as Conquering Hero | |
| |
| |
| The Wiz | |
| |
| |
| |
| The 1980s: Black Superstars and the Era of Tan | |
| |
| |
| Holding Up the Fort | |
| |
| |
| Dramatic Possibilities | |
| |
| |
| Buddy Buddy | |
| |
| |
| Richard Pryor, Superstar: The Ups and Downs | |
| |
| |
| Trading Places: Eddie Murphy | |
| |
| |
| A Soldier's Story | |
| |
| |
| Say It with Music | |
| |
| |
| Different Directions | |
| |
| |
| Women: As Exotics and Non-racials | |
| |
| |
| A Controversy about Color | |
| |
| |
| Whipping Whoopi | |
| |
| |
| Independents | |
| |
| |
| Hollywood and the Race Theme | |
| |
| |
| Burning History: The White Man's Burden | |
| |
| |
| The Bird Doesn't Fly | |
| |
| |
| Focusing on Apartheid | |
| |
| |
| Bringing History to Light: Glory | |
| |
| |
| Denzel Washington: On the Road to Stardom | |
| |
| |
| Driving Miss Daisy: The Matter of Perspective | |
| |
| |
| Morgan Freeman: The Long Journey to Get There | |
| |
| |
| Other Films | |
| |
| |
| Sidney Returns | |
| |
| |
| Closing the Era on the Right Note | |
| |
| |
| |
| The 1990s: New Stars, New Filmmakers, and a New African American Cinema | |
| |
| |
| The Good, the Bad, the Bonded, the Typed | |
| |
| |
| Whoopi's Back and a Ghost's Got Her | |
| |
| |
| An Emerging New African American Cinema | |
| |
| |
| Charles Burnett: A New Career Direction | |
| |
| |
| A Breakthrough Year | |
| |
| |
| New Jack Movies | |
| |
| |
| A Black New Wave | |
| |
| |
| John Singleton's South Central | |
| |
| |
| Rising from the Dust | |
| |
| |
| A Trio by Spike | |
| |
| |
| Other New Directors and Films | |
| |
| |
| Actresses in Search of Roles | |
| |
| |
| The New Actors | |
| |
| |
| Eddie Murphy: All Grown Up, Looking for a Place to Go | |
| |
| |
| Laurence Fishburne: From Child Actor to Leading Man | |
| |
| |
| Wesley Snipes: Action Hero | |
| |
| |
| Denzel Washington: Leading Man, Romantic Hero, Superstar | |
| |
| |
| Index | |