African American Women in Early Film Essay

Lena Horne is an amazing woman. Her pride in her heritage, her refusal to compromise herself, and her innate elegance, grace, and dignity has made her a legendary figure. Her role as a person who has helped to improve the status of African Americans in the performing arts has provided a permanent legacy.During the 1960s Horne was involved in the American Civil Rights Movement. During the 1960s Horne was involved in the American Civil Rights Movement. She participated in the March on Washington in 1963, performed at rallies in the South and elsewhere, and worked on behalf of the National Council for Negro Women. During the same period, she was also very visible on television, appearing on popular variety shows and in her own special, Lena in Concert, in 1969. In 1969 Horne starred in the movie Death of a Gunfighter.n the 1990s Horne cut back on performing. She was drawn back from semiretirement to do a tribute concert for a long-time friend, composer Billy Strayhorn, at the JVC Jazz Festival. At age seventy-six

“For Colored Girls” is comprised of seven women who represented a different shade of the rainbow. The colors are brown, red, yellow, white, green, orange and blue. Their costumes and make-up transformed each of them and were symbolic of the color their character embodied. The ensemble acting made all of their roles of equal importance, without one dominating the other. These women together formed a bond through their various adversities, gradually taking them from strangers to acquaintances. From an objective view, the audience is allowed to simply observe the events as they take place (Goodykoontz & Jacobs, 2011, pg. 82) chronologically. Throughout the movie during some of the conflicting and traumatic scenes, one of the women recites a

The stereotypical misrepresentations of African-American women and men in popular culture have influenced societal views of Blacks for centuries. The typical stereotypes about Black women range from the smiling, a sexual and often obese Mammy to the promiscuous Jezebel who lures men with her sexual charms. However, the loud, smart mouthed, neck-rolling Black welfare mother is the popular image on reality television. These images portrayed in media and popular culture create powerful ideology about race and gender, which affects daily experiences of Black women in America. With few healthy relationships portrayed in the media, Black women are left to make decisions based on the options

Many black entertainers believed that they needed to advocate against racial discrimination and white supremacy for every nation since it wasn’t just a problem for the U.S.. They believed that their efforts could achieve decolonization of other nations and promote independence for all. In response to violent events that were overtaking the U.S., black women activist-entertainers used their platform to expose the injustice of racial discrimination and promoted the civil rights movement. For example, Miriam Makeba used her platform and created music to broadcast content and their own perspective on the global racial issues toward their consumers. Another example would be Cicely Tyson, a high-fashion model who used her position to expand the boundaries of black beauty by using her hair and clothing as valuable props. She challenged what it meant to be a black woman and how race and sexuality played intersecting

There are hardly any films involving African-Americans that accurately represent black culture and it is something that has rarely been accomplished in the mainstream film industry. In the 30s, black film had an extraordinary presence as they were shown to large segregated audiences. However, by the 80’s black film was seen as simply comic relief with no true depictions of real life. In 1986, She’s Gotta Have It was introduced by director, editor and actor Spike Lee who wanted real people with real lives in his work. The film offers a new perspective on sexuality and the double standard that is applied to men and women. This portrayal allowed audiences to visualize African-Americans as any other race when it comes to loving one another and

Dorothy Dandridge may seem to be like a beautiful and strong African American woman on the outside, but on the inside she held in a lot of pain. Dorothy Dandridge is an actress, singer, and entertainer, who no longer walk this green Earth, but when she did, she made history. Dorothy was the first African American actress to achieve a leading-role status. Dorothy also had a deeply troubled life and racism didn’t make her life any easier especially when it came to achieving her dreams, but she got through it and during her time, the early 1930’s through the 1960’s, that was saying something. Racism was a lot worse then what it is now, but it made it harder for African Americans to achieve their goals, especially African American women. Dorothy was very worth looking up to now and when she was alive. Dorothy Dandridge is a contribution to African American history because she was the first African American woman to be nominated for an Academy Award for best actress, how she fought all odds against her, mainly racism, and she made it possible to for other African American women to follow in her footsteps and look up to her as a role model.

February of every year is known as National Black History Month. There are many African American people who made a great impact on all African-Americans today. In honor of this month, though, I have chosen to write about Marian Anderson. Marian Anderson was a singer who had made a great impact on many of the black singers in the past. She was one of the first female African-American to perform with the New York Metropolitan Opera in 1955. Some of Marian’s last words to the public were “I have a great belief in the future of my people and my country.”

When thinking about black actresses in the 1930s through 1950s, a few names may come to mind like Nina McKinney, Lena Horne, Dorothy Dandridge, and Hattie McDaniel. However, many other black actresses have graced the big screen including Suzette Harbin, Theresa Hams, Ethel Moses, Mae Turner, and Hilda Simms just to name a few. Many of these talented actresses differ in their career paths, but they all endured some form of racism and sexism which made it laborious for them to thrive in their careers. By the Way, Meet Vera Stark represents the hardships of black actresses during the 1930s through 1950s. The protagonist, Vera Stark, persistently tries to prove to the people around her that she has star quality for show business. However, she does not reach her potential because of her race. Although she obtains some gigs, the gigs demean black women during that time. The offensive parts for black actresses vary from mammy to slave woman to seductress. The following roles offered black actresses’ opportunities to one day acquire star making roles. Unfortunately, those roles did not apply to black actresses. Only white actors and actresses experienced that fortuity. By the Way, Meet Vera Stark exposes Hollywood’s misconduct of black actresses and further explains the lack of black representation today. Indeed, roles for black actresses have increased since the 1930s through 1950s; however the roles have become more stereotypical like the obnoxious black woman, the token black

The inclusion of Black women and their vital roles within Black press also improved the film’s

The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun.

The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith

Being a black actor wasn’t easy. Sidney Poitier had to work twice as hard for the roles and make sure every performance was perfect, However he did stand for what he believed in, and only took roles in which he could envision his own sense of self. Whenever a press conference was held the reporters would grill him about current events that had to do with the black population. Usually the

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

I had never seen the 1929 film “St. Louis Blues” featuring Bessie Smith and much to my surprise (at least in the shown clip) blacks were not depicted as being inadequate or as buffoons. The song began with melancholy as she sang about her man, her demeanor uplifted along with the tempo picked up when he entered the speakeasy, and when he left it was an immediate drop back to the songs original beat. Having sold many records, she was cast in one of the first films to cast black performers.

Throughout this course we discussed the Jazz Age, cultural appropriation, racial and gender differences, and African Americans and Parisians during the interwar years. We looked at many African American performers and performances that had a huge impact on France’s cultural identity. After learning about all of this in class, I wanted to take my research further. I decided to research female foreign performers who have had a major influence on the Jazz Age in Paris. I decided to focus specifically on three foreign females, and they are: singer and dancer Josephine Baker, dancer Molly Spotted Elk, and dancer Ada “Bricktop” Smith. Each of these female performers had a large impact on taking the Jazz Age in Paris to another level.