22FA_MFS260A-African American Cinema

4 Reading Responses

Most weeks, we will have a reading assignment from Bogle, and you must choose 4 weeks to write a response.

I will provide a specific prompt posted on Moodle. This portion of the response must be 90 to 150 words.

 You will also choose your own original topic from the readings to discuss and provide reaction. There will be plenty of material in each week’s assignment to inspire reaction. This portion of the response should be 150 to 200 words.

Post your responses to the forum BEFORE class time when the reading is due. And be ready to discuss your response with the class.

Below are prompts for responses to the Bogle chapters. 

Introduction and Ch. 1-3  (p. xxii-xxvii and p. 1-88)

a. In regards to African-American imagery and identity for both black and non-black audiences, describe the pros and cons for creating all-black cast films like Hallelujah (1929), Hearts in Dixie (1929), and Green Pastures (1936). 

b. Identify some of the actresses who played “mammie” roles and describe how their characters might have been likeable for white audiences and black audiences?  How were they problematic?

c. Identify some of the actors who played “coon” roles and describe how their characters might have been likeable for white audiences and black audiences?  How were they problematic?

d. Identify some of the actors who played “tom” roles and describe how their characters might have been likeable for white audiences and black audiences?  How were they problematic?

Ch. 4 (p. 89-104)

a. How might Oscar Micheaux’s film Within Our Gates be a response to Griffith’s Birth of a Nation?

b. Discuss the pros and cons that some critics have debated concerning Oscar Micheaux’s films.

Ch. 5-6 (p. 105-174)

a. On p. 106, Bogle states that from the beginning, “filmmakers had been trying to maintain the myth that Negroes were naturally rhythmic and natural-born entertainers.”  Briefly discuss this myth, how it evolved in the 1940s, and how it may still be alive today.

b. How did the black entertainers and the “new Negroes” of the 1940s differ from the servant or jester roles for the 1930s?  Give examples from chapter 5.

c. In his discussion of Cabin in the Sky from 1943, Bogle praises the performances but notes the characters were still “locked in” with old archetypes and scenarios.  Elaborate on the importance of believability and so-called “realism” that Hollywood continues to espouse.

d. Discuss Bogle’s term “the New Negro” and the effects that World War II and the early days of the Cold War had on Hollywood’s development of new movies.  Cite examples.

e. What does Bogle mean by the term “huckfinn fixation”?  Cite examples from the 1940s, and discuss how this concept exists in more recent media that you are familiar with.

f. As part of a foreshadowing of civil rights activity in the 1950s, the year 1949 was a banner year for race-themed movies (what Bogle refers to as “problem pictures”).  Choose one film from 1949 and discuss both its progressive attributes as well as its compromises and negative impact on the careers of the actors involved.

g. Discuss why Bogle describes Dorothy Dandridge as “unfulfilled” despite her unprecedented success in the 1950s.

h. In the 1950s, why did Sidney Poitier become so successful with both black and white audiences?  How was his persona different than prior or contemporary black movie stars?

i. For various industrial and social reasons, Hollywood movies struggled in the 1950s (even those projects that were financially successful are often considered weak by today’s standards).  Regarding films featuring black characters, discuss some of their weaknesses.  Cite examples.

Ch. 7 (p. 175-208)

a. Bogle’s descriptions of Ossie Davis’ film Gone Are the Days (1963), Otto Preminger’s film Hurry Sundown (1967), and Gordon Parks’ film The Learning Tree (1969) imply they may have been progressive, or they may have been problematic.  Discuss how either interpretation was possible for each of these films.

b. Discuss the various interpretations and critical opinions of the movie Black Like Me (1964).

c. In Bogle’s description of Dutchman (1967), he mentions “the black bourgeoisie.”  Discuss what this term means and how it might have both positive and negative implications.

d. If you didn’t answer the Sidney Poitier prompt from chapter 6, you may answer this prompt: Bogle uses the term “superblackman” in his discussion of Sidney Poitier.  Discuss this concept and its implications in Poitier’s movies Lilies of the Field, In the Heat of the Night, and Guess Who’s Coming to Dinner.

Ch. 8 (209-240)

a. Prompt: Bogle says old stereotypes resurfaced in the 1970s, but they were “simply dressed in new garb.”  What does he mean by this?  Give examples.

b. Films that were part of the “Blacksploitation” movement in the 1970s often created divided opinions among black audiences.  Compare and contrast the pros and cons of films like Sweet Sweetback’s Baadasssss Song, Shaft, and Superfly.

c. Considering the term “Blacksploitation,” discuss who or what is actually being exploited.

d. Describe the difference between how the movie industry considered black audiences in the beginning of the 1970s compared with the end of the 1970s.

e. Bogle uses the term “black superwoman” in his discussion of stars like Pam Grier and Tamara Dobson.  Explain what he means by this, using examples from their films.

Ch. 9 (p. 241-292)

a. What does Bogle mean when he describes the 1980s as the “era of tan”?

b. What was the dilemma of early Eddie Murphy movies, according to Bogle?

c. Describe the controversy of the film version of The Color Purple.

d. Besides the content mentioned in the questions above, pick one film from the 1980s that Bogle criticizes.  What is controversial or lacking in this film?

Ch. 10 (first half of the chapter, p. 293-333)

a. In the beginning of the 1990s, discuss some factors that encouraged Hollywood to embrace more black directors and to produce bold, gritty films featuring black characters.

b. Pick a 1990s film from a black director that you have seen.  Discuss whether or not you classify it as having a “black aesthetic” or “black filmic sensibility” (to use Bogle’s word). 

Ch. 10 (second half of the chapter, p. 333-388)

Pick a black female director or actress from the 1990s and discuss their career trajectory.  How does her career path compare or contrast with black male directors/actors or white female directors/actors of the time period? (research outside of Bogle’s chapter may be necessary)

Ch. 11 (p. 389-477)

a. Bogle uses the term “familiar images” with a negative connotation when describing some films of the 2000s.  Elaborate on what he means, using examples from the films.

b. Describe the potential controversy regarding Denzel Washington’s performance in Training Day.

c. Describe the potential controversy regarding Halle Berry’s character in Monster’s Ball.

d. Discuss why some critics were outraged by Tyler Perry movies in the 2000s, despite their huge box office success.