Desire On Fire Full Movie
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Fire and Desire
Author: Jane M. Gaines
language: en
Publisher: University of Chicago Press
Release Date: 2017-12-29
In the silent era, American cinema was defined by two separate and parallel industries, with white and black companies producing films for their respective, segregated audiences. Jane Gaines's highly anticipated new book reconsiders the race films of this era with an ambitious historical and theoretical agenda. Fire and Desire offers a penetrating look at the black independent film movement during the silent period. Gaines traces the profound influence that D. W. Griffith's racist epic The Birth of a Nation exerted on black filmmakers such as Oscar Micheaux, the director of the newly recovered Within Our Gates. Beginning with What Happened in the Tunnel, a movie that played with race and sex taboos by featuring the first interracial kiss in film, Gaines also explores the cinematic constitution of self and other through surprise encounters: James Baldwin sees himself in the face of Bette Davis, family resemblance is read in Richard S. Robert's portrait of an interracial family, and black film pioneer George P. Johnson looks back on Micheaux. Given the impossibility of purity and the co-implication of white and black, Fire and Desire ultimately questions the category of "race movies" itself.
Fire and Desire
Author: Jane Gaines
language: en
Publisher: University of Chicago Press
Release Date: 2001-02
List of IllustrationsAcknowledgmentsNote on Film DatesIntroduction - The "Race" in Race Movies1. "Green Like Me"2. Desiring Others3. Race Movies: All-Black Everything4. World-Improving Desires5. Fire and Desire6. The Body's Story7. Race/Riot/CinemaConclusion - Mixed-Race MoviesNotesIndex Copyright © Libri GmbH. All rights reserved.
Destructive Desires
Author: Robert J. Patterson
language: en
Publisher: Rutgers University Press
Release Date: 2019-04-05
Despite rhythm and blues culture’s undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism’s increased codification in America’s racial politics and policies since the 1970s. Robert J. Patterson provides a thorough analysis of four artists—Kenneth “Babyface” Edmonds, Adina Howard, Whitney Houston, and Toni Braxton—to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics.