A fascinating tribute to Black New Yorkers and the quest for representation in film.
Black life in New York, a century ago, as seen through its cinema culture.
In 1926, a man named Robert Thomas and a male friend, both Black, had to fight off a white female usher, white manager, and six riot officers to be allowed to take the orchestra seats they had purchased rather than be banished to the balcony at Harlem’s Loew’s Victoria Theatre. This was just one of many incidents in the early 20th century in which Black New Yorkers, no strangers to racist treatment, endured discrimination and violence while trying to attend one of the city’s theaters. In this well-written work, Lopez “traces Black film culture in New York City from its origins in the early twentieth century to its firm establishment in the 1930s,” defining Black film culture as “Black New Yorkers’ interactions with cinema and surrounding institutions, not necessarily the cinematic output itself.” In illuminating chapters, she describes the alternative venues Black audiences had to locate when established theaters proved inhospitable; the “young Black girls’ and women’s moviegoing experiences” and the fear that their attendance led to “promiscuity, criminality, and incorrigibility”; the battles that Oscar Micheaux, “the most successful Black filmmaker in the first half of the twentieth century,” had to wage to get his “racially charged” films approved by censors; the attempts by film operators to unionize; and the pioneering reporting of Black journalists, particularly at the New York Age, to call attention to the “connections between racist cinema and its proprietors and the debilitating effects of racism on Black New Yorkers.” The writing is sometimes dry, but Lopez brings this sorry period to life by recounting memorable moments, as when she notes the 1930 incident of the projection booth at the Renaissance Theatre crashing down onto the patrons below, a tragedy that would have been worse if the projectionists hadn’t turned off the projector first and prevented a fire.
A fascinating tribute to Black New Yorkers and the quest for representation in film.Pub Date: today
ISBN: 9781439924136
Page Count: 250
Publisher: Temple Univ. Press
Review Posted Online: Dec. 28, 2024
Kirkus Reviews Issue: Feb. 1, 2025
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorkerstaff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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