1992, ISBN: 9780929398266

Edition reliée

Touchstone Books, 1990. Paperback. Good. Former library book. Slightly creased cover. Slight signs of wear on the cover. Soiling on the side. Different cover. Edition 1990. Ammareal giv… Plus…

Touchstone Books, 1990. Paperback. Good. Former library book. Slightly creased cover. Slight signs of wear on the cover. Soiling on the side. Different cover. Edition 1990. Ammareal gives back up to 15% of this book's net price to charity organizations., Touchstone Books, 1990, 2.5, Houghton Mifflin Company, 1970 Bright colored gilt decorative cover design. Previous bookseller's card adhered to FFEP. Clean text and interior. Tight, square binding. Unclipped dust jacket with $5.95 price intact. Now in protective Gaylord cover has some light rubbing at edges.. Hardcover. Near Fine/Near Fine., Houghton Mifflin Company, 1970, 4, Denton, TX: University of North Texas Press, 1992 Book. As New. Hardcover. Second Edition. 8vo. Dust Jacket Condition: As New. 242 pp, I. foreword by Ossie Davis, II. Introduction: King Tut's Warehouse: Finding the Films; The Non-White World of All-Black Cinema. III. Some Pioneer Black Filmmakers: Oscar Michearx: The Dean of Black Filmmakers; Spencer Williams; William Alexander; George Randol. IV. The Tyler, Texas, Black Film Collection: The Blood of Jesus; Dirtie Gertie from Harlem, U. S. A.; The Girl in Room 20; Juke Joint; Marching On; Midnight Shadow; Miracle in Harlem; Murder in Harlem (Lem Hawkins' Confession); Souls of Sin; By-Line Newsreels (Four Episodes); Other Short Films in the Collection: Broken Earth; Boogie Woogie Blues; Daughters of the Isle of Jamaica; Harlem Hot-Shots; Junior Jeeps; Vanities. V. Comments from Some of Today's Black Filmmakers: How the Films Were Produced, Distributed, Exhibited -- and What Became of the System; What Black Independent Films Meant to the Black Community; Working with Spencer Williams. VI. A Final Comment: "We Could Have Been Friends"; VII. Appendix I: Independent Black Films, 1910-1957. Appendix II: Books About Black Independent Filmmmaking: 1910-1960. IX. Index with b&w illustrations throughout. Second Edition, 1991. "Although Gordon Parks's 1969 self-produced and -directed The Learning Tree was a milestone in terms of black artists gaining control of the Hollywood filmmaking process, it was made more than a half-century after the first black independent filmmakers began making films for segregated theaters in the South and de facto segregated theaters in the North. For four decades, there were as many as 1,200 theaters across the nation which played black-audience films either exclusively or on a preferential basis. 1921 was a peak year for distribution within the highly-organized and tightly-run production-distribution-exhibition system, which operated efficiently until its demise in the mid-fifties -- as much through changing economic tides as through the growing sense that all-black theaters and films were no longer needed in the face of growing 'integration'. During the 40 year span when black-audience films were in their heyday, few black artists other than the legendary Oscar Micheaux had their own production companies. But a host of black producers, directors, and screenwriters, and actors had the opportunity to work on films which whites were never meant to see in which, therefore, they could be truer to the realities of life as they experieneced and felt them; films in which there was no need for pandering to white prejudices, because the audience as well as the casts would be black." from the introduction. Not Price clipped. Pristine, no wear. Clean, tight and strong binding with no underlining, highlighting or marginalia. Black cloth with silver lettering to spine.., University of North Texas Press, 1992, 5<

1992, ISBN: 0929398262

[EAN: 9780929398266], Gebraucht, wie neu, [SC: 39.66], [PU: University of North Texas Press, Denton, TX], MEDIA, FILM & TV MOTION PICTURES HISTORY BLACK CINEMA AFRO-AMERICANS IN, Jacket, … Plus…

[EAN: 9780929398266], Gebraucht, wie neu, [SC: 39.66], [PU: University of North Texas Press, Denton, TX], MEDIA, FILM & TV MOTION PICTURES HISTORY BLACK CINEMA AFRO-AMERICANS IN, Jacket, Dust Jacket Condition: As New. 242 pp, I. foreword by Ossie Davis, II. Introduction: King Tut's Warehouse: Finding the Films; The Non-White World of All-Black Cinema. III. Some Pioneer Black Filmmakers: Oscar Michearx: The Dean of Black Filmmakers; Spencer Williams; William Alexander; George Randol. IV. The Tyler, Texas, Black Film Collection: The Blood of Jesus; Dirtie Gertie from Harlem, U. S. A.; The Girl in Room 20; Juke Joint; Marching On; Midnight Shadow; Miracle in Harlem; Murder in Harlem (Lem Hawkins' Confession); Souls of Sin; By-Line Newsreels (Four Episodes); Other Short Films in the Collection: Broken Earth; Boogie Woogie Blues; Daughters of the Isle of Jamaica; Harlem Hot-Shots; Junior Jeeps; Vanities. V. Comments from Some of Today's Black Filmmakers: How the Films Were Produced, Distributed, Exhibited -- and What Became of the System; What Black Independent Films Meant to the Black Community; Working with Spencer Williams. VI. A Final Comment: "We Could Have Been Friends"; VII. Appendix I: Independent Black Films, 1910-1957. Appendix II: Books About Black Independent Filmmmaking: 1910-1960. IX. Index with b&w illustrations throughout. Second Edition, 1991. "Although Gordon Parks's 1969 self-produced and -directed The Learning Tree was a milestone in terms of black artists gaining control of the Hollywood filmmaking process, it was made more than a half-century after the first black independent filmmakers began making films for segregated theaters in the South and de facto segregated theaters in the North. For four decades, there were as many as 1,200 theaters across the nation which played black-audience films either exclusively or on a preferential basis. 1921 was a peak year for distribution within the highly-organized and tightly-run production-distribution-exhibition system, which operated efficiently until its demise in the mid-fifties -- as much through changing economic tides as through the growing sense that all-black theaters and films were no longer needed in the face of growing 'integration'. During the 40 year span when black-audience films were in their heyday, few black artists other than the legendary Oscar Micheaux had their own production companies. But a host of black producers, directors, and screenwriters, and actors had the opportunity to work on films which whites were never meant to see in which, therefore, they could be truer to the realities of life as they experieneced and felt them; films in which there was no need for pandering to white prejudices, because the audience as well as the casts would be black." from the introduction. Not Price clipped. Pristine, no wear. Clean, tight and strong binding with no underlining, highlighting or marginalia. Black cloth with silver lettering to spine. Size: 8vo, Books<

1992, ISBN: 0929398262

[EAN: 9780929398266], Gebraucht, wie neu, [PU: University of North Texas Press, Denton, TX], MEDIA, FILM & TV MOTION PICTURES HISTORY BLACK CINEMA AFRO-AMERICANS IN, Jacket, Dust Jacket C… Plus…

[EAN: 9780929398266], Gebraucht, wie neu, [PU: University of North Texas Press, Denton, TX], MEDIA, FILM & TV MOTION PICTURES HISTORY BLACK CINEMA AFRO-AMERICANS IN, Jacket, Dust Jacket Condition: As New. 242 pp, I. foreword by Ossie Davis, II. Introduction: King Tut's Warehouse: Finding the Films; The Non-White World of All-Black Cinema. III. Some Pioneer Black Filmmakers: Oscar Michearx: The Dean of Black Filmmakers; Spencer Williams; William Alexander; George Randol. IV. The Tyler, Texas, Black Film Collection: The Blood of Jesus; Dirtie Gertie from Harlem, U. S. A.; The Girl in Room 20; Juke Joint; Marching On; Midnight Shadow; Miracle in Harlem; Murder in Harlem (Lem Hawkins' Confession); Souls of Sin; By-Line Newsreels (Four Episodes); Other Short Films in the Collection: Broken Earth; Boogie Woogie Blues; Daughters of the Isle of Jamaica; Harlem Hot-Shots; Junior Jeeps; Vanities. V. Comments from Some of Today's Black Filmmakers: How the Films Were Produced, Distributed, Exhibited -- and What Became of the System; What Black Independent Films Meant to the Black Community; Working with Spencer Williams. VI. A Final Comment: "We Could Have Been Friends"; VII. Appendix I: Independent Black Films, 1910-1957. Appendix II: Books About Black Independent Filmmmaking: 1910-1960. IX. Index with b&w illustrations throughout. Second Edition, 1991. "Although Gordon Parks's 1969 self-produced and -directed The Learning Tree was a milestone in terms of black artists gaining control of the Hollywood filmmaking process, it was made more than a half-century after the first black independent filmmakers began making films for segregated theaters in the South and de facto segregated theaters in the North. For four decades, there were as many as 1,200 theaters across the nation which played black-audience films either exclusively or on a preferential basis. 1921 was a peak year for distribution within the highly-organized and tightly-run production-distribution-exhibition system, which operated efficiently until its demise in the mid-fifties -- as much through changing economic tides as through the growing sense that all-black theaters and films were no longer needed in the face of growing 'integration'. During the 40 year span when black-audience films were in their heyday, few black artists other than the legendary Oscar Micheaux had their own production companies. But a host of black producers, directors, and screenwriters, and actors had the opportunity to work on films which whites were never meant to see in which, therefore, they could be truer to the realities of life as they experieneced and felt them; films in which there was no need for pandering to white prejudices, because the audience as well as the casts would be black." from the introduction. Not Price clipped. Pristine, no wear. Clean, tight and strong binding with no underlining, highlighting or marginalia. Black cloth with silver lettering to spine. Size: 8vo, Books<

1992, ISBN: 9780929398266

Denton, TX: University of North Texas Press, 1992 Book. As New. Hardcover. Second Edition. 8vo. Dust Jacket Condition: As New. 242 pp, I. foreword by Ossie Davis, II. Introduction: King … Plus…

Denton, TX: University of North Texas Press, 1992 Book. As New. Hardcover. Second Edition. 8vo. Dust Jacket Condition: As New. 242 pp, I. foreword by Ossie Davis, II. Introduction: King Tut's Warehouse: Finding the Films; The Non-White World of All-Black Cinema. III. Some Pioneer Black Filmmakers: Oscar Michearx: The Dean of Black Filmmakers; Spencer Williams; William Alexander; George Randol. IV. The Tyler, Texas, Black Film Collection: The Blood of Jesus; Dirtie Gertie from Harlem, U. S. A.; The Girl in Room 20; Juke Joint; Marching On; Midnight Shadow; Miracle in Harlem; Murder in Harlem (Lem Hawkins' Confession); Souls of Sin; By-Line Newsreels (Four Episodes); Other Short Films in the Collection: Broken Earth; Boogie Woogie Blues; Daughters of the Isle of Jamaica; Harlem Hot-Shots; Junior Jeeps; Vanities. V. Comments from Some of Today's Black Filmmakers: How the Films Were Produced, Distributed, Exhibited -- and What Became of the System; What Black Independent Films Meant to the Black Community; Working with Spencer Williams. VI. A Final Comment: "We Could Have Been Friends"; VII. Appendix I: Independent Black Films, 1910-1957. Appendix II: Books About Black Independent Filmmmaking: 1910-1960. IX. Index with b&w illustrations throughout. Second Edition, 1991. "Although Gordon Parks's 1969 self-produced and -directed The Learning Tree was a milestone in terms of black artists gaining control of the Hollywood filmmaking process, it was made more than a half-century after the first black independent filmmakers began making films for segregated theaters in the South and de facto segregated theaters in the North. For four decades, there were as many as 1,200 theaters across the nation which played black-audience films either exclusively or on a preferential basis. 1921 was a peak year for distribution within the highly-organized and tightly-run production-distribution-exhibition system, which operated efficiently until its demise in the mid-fifties -- as much through changing economic tides as through the growing sense that all-black theaters and films were no longer needed in the face of growing 'integration'. During the 40 year span when black-audience films were in their heyday, few black artists other than the legendary Oscar Micheaux had their own production companies. But a host of black producers, directors, and screenwriters, and actors had the opportunity to work on films which whites were never meant to see in which, therefore, they could be truer to the realities of life as they experieneced and felt them; films in which there was no need for pandering to white prejudices, because the audience as well as the casts would be black." from the introduction. Not Price clipped. Pristine, no wear. Clean, tight and strong binding with no underlining, highlighting or marginalia. Black cloth with silver lettering to spine.., University of North Texas Press, 1992, 5<

1991, ISBN: 0929398262

[EAN: 9780929398266], Gebraucht, sehr guter Zustand, [PU: University of North Texas Press, AND A SECOND BOOK, from the Silman-James Press, Denton / Las Angeles - Beverly Hills], BLACK STU… Plus…

[EAN: 9780929398266], Gebraucht, sehr guter Zustand, [PU: University of North Texas Press, AND A SECOND BOOK, from the Silman-James Press, Denton / Las Angeles - Beverly Hills], BLACK STUDIES AFRICAN-AMERICAN INTEREST MOVIES FILM CINEMA SHOW BUSINESS 1930S 1940S 1950S THIRTIES FORTIES FIFTIES '30S '40S '50S SEGREGATED FOR AUDIENCES NEGRO MOVIE SCREENPLAYS SCREEN-WRITERS WRITERS AUTHORS AUTEURS FILMS BIZ HOLLYWOOD L.A. LOS ANGELES, Jacket, We list the ISBN of our first book, "Black Cinema Treasures," number line 10 9 8 7 6 5 4 3 2, only -- we presume the second printing. The discovery of a group of black films in a warehouse in Tyler, Texas -- made for black audiences, featuring black actors, directors, screenwriters and in many cases produced by black producers -- allows authorJones (a professor of cinema at Southern Methodist U.) to examine black self-image in America from the mid 1930s to the mid-1950s. Plots of several of the films are illustrated with sequential series of eight stills each, which are useful, though these B&W frame enlargements are a tad murky, reproduced here on matte stock. 242 pp. including index. Reduced from $17. The ISBN of our second title in this lot, the 1996 as-new trade paperback "African-American Screenwriters Now," is 9781879505285 ."First Edition" stated; number line complete 10 9 8 7 6 5 4 3 2 1 -- the first printing. Q&A with Dwayne Johnson-Cochran, Charles Burnett, Rusty Cundieff, Carol Munday Lawrence, Eric Daniel, Julie Dash, Robert Townsend, Tim Reid, Carl Franklin, Jeanne Williams, etc. Reduced from $16. Two books on related topics combined into a lot to consolidate shipping charge., Books<