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Description: Now available for the first time in paperback, "Black Heroes" is a "who's who" of 150 individuals who have made a lasting and profound impact on our culture, from W.E.B. Du Bois to Colin Powell, from Rosa Parks to Maya Angelou. 215 photos.
Description: In 1947, Jackie Robinson changed the game of baseball by becoming the first black player on a modern day major league team. Jackie made history with the Brooklyn Dodgers and this story is about Jackie and the seventeen players who followed him. These Black Heroes challenged the status quo and policies of team owners and were part of the first wave of black players who played on the sixteen major league teams that existed in 1947. It was not until 1959 (three years after Jackie retired) that the last of the sixteen teams added a black player to their roster.
Description: The Afro-bets kids introduce forty-nine black men and women who are heroes of their time.
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Description: "When Gus Edwards discovered that the majority of the young actors, playwrights, and teachers he encountered didn't know who Nat Turner was - nor many other key men and women in black history - he summoned the power of theatre to correct the situation. Black Heroes in Monologues brings these and other influential African Americans to life once again."--BOOK JACKET.
Description: This book examines Black Panther not only as a film grounded in Afro-futurism, but also as an invitation for viewers to think about relevant real-world social questions about identity, liberation, and racial justice, ultimately posing the question of how Black Panther invites a reimagining of Blackness.
Description: Contributions by Phil Bevin, Blair Davis, Marc DiPaolo, Michele Fazio, James Gifford, Kelly Kanayama, Orion Ussner Kidder, Christina M. Knopf, Kevin Michael Scott, Andrew Alan Smith, and Terrence R. Wandtke In comic books, superhero stories often depict working-class characters who struggle to make ends meet, lead fulfilling lives, and remain faithful to themselves and their own personal code of ethics. Working-Class Comic Book Heroes: Class Conflict and Populist Politics in Comics examines working-class superheroes and other protagonists who populate heroic narratives in serialized comic books. Essayists analyze and deconstruct these figures, viewing their roles as fictional stand-ins for real-world blue-collar characters. Informed by new working-class studies, the book also discusses how often working-class writers and artists created these characters. Notably Jack Kirby, a working-class Jewish artist, created several of the most recognizable working-class superheroes, including Captain America and the Thing. Contributors weigh industry histories and marketing concerns as well as the fan community's changing attitudes towards class signifiers in superhero adventures. The often financially strapped Spider-Man proves to be a touchstone figure in many of these essays. Grant Morrison's Superman, Marvel's Shamrock, Alan Moore and David Lloyd's V for Vendetta, and The Walking Dead receive thoughtful treatment. While there have been many scholarly works concerned with issues of race and gender in comics, this book stands as the first to deal explicitly with issues of class, cultural capital, and economics as its main themes.
Description: In Hollywood, we hear, it’s all about the money. It’s a ready explanation for why so few black films get made—no crossover appeal, no promise of a big payoff. But what if the money itself is color-coded? What if the economics that governs film production is so skewed that no film by, about, or for people of color will ever look like a worthy investment unless it follows specific racial or gender patterns? This, Monica Ndounou shows us, is precisely the case. In a work as revealing about the culture of filmmaking as it is about the distorted economics of African American film, Ndounou clearly traces the insidious connections between history, content, and cash in black films. How does history come into it? Hollywood’s reliance on past performance as a measure of potential success virtually guarantees that historically underrepresented, underfunded, and undersold African American films devalue the future prospects of black films. So the cycle continues as it has for nearly a century. Behind the scenes, the numbers are far from neutral. Analyzing the onscreen narratives and off-screen circumstances behind nearly two thousand films featuring African Americans in leading and supporting roles, including such recent productions as Bamboozled, Beloved, and Tyler Perry’s Diary of a Mad Black Woman, Ndounou exposes the cultural and racial constraints that limit not just the production but also the expression and creative freedom of black films. Her wide-ranging analysis reaches into questions of literature, language, speech and dialect, film images and narrative, acting, theater and film business practices, production history and financing, and organizational history. By uncovering the ideology behind profit-driven industry practices that reshape narratives by, about, and for people of color, this provocative work brings to light existing limitations—and possibilities for reworking stories and business practices in theater, literature, and film.
Description: Highlighting certain socioeconomic and cultural trends, this exploration discloses the new dynamics shaping contemporary lives of African Americans. Using information from conversations with mavericks within black communities such as entrepreneurs, artists, scholars, and activists as well as members of both the working and upper classes this powerful examination gives voice to what the author have deemed post black approaches to business, lifestyles, and religion that are nowhere else reflected as part of black life. The argument states that this new, complex black identity is strikingly different from the images handed down from previous generations and offers new examples of behavior, such as those shown by President Obama, gays and lesbians, young professionals, and black Buddhists. Contending that this new generation feels as unwelcome in traditional churches as in hip-hop clubs, this dynamic provocation dispels myths about current, popular black identity.
Description: Using the slave narratives of Henry Bibb and Frederick Douglass, as well as the work of W. E. B. Du Bois, James Baldwin, Walter Mosley, and Barack Obama, Ronda C. Henry Anthony examines how women’s bodies are used in African American literature to fund the production of black masculine ideality and power. In tracing representations of ideal black masculinities and femininities, Henry Anthony shows how black men’s struggles for gendered agency are inextricably bound up with their complicated relation to white men and normative masculinity. The historical context in which Henry Anthony couches these struggles highlights the extent to which shifting socioeconomic circumstances dictate the ideological, cultural, and emotional terms upon which black men conceptualize identity. Yet, Henry Anthony quickly moves to texts that challenge traditional constructions of black masculinity. In these texts Henry Anthony traces how the emergence of collaboratively-gendered discourses, or a blending of black female/male feminist consciousnesses, are reshaping black masculinities, femininities, and intraracial relations for a new century.