Contents

The Minstrel Show Will Never Die
Jim Crow and Tom Thumb
Irishness of it All
Irving Berlin Titillates
Gershwin´s Racial Profiling
Jews in Blackface
Jolson the Shlemiel
Strutting to R e d e m p t i o n < b r > Endnotes

--------------------------------

How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years

(MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832.

(MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades.

Why Irish Americans Wore Blackface

(MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day."

(MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons."

The Blackface Burden of Jewishness

(MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface.

(MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

Contents

The Minstrel Show Will Never Die
Jim Crow and Tom Thumb
Irishness of it All
Irving Berlin Titillates
Gershwin´s Racial Profiling
Jews in Blackface
Jolson the Shlemiel
Strutting to R e d e m p t i o n < b r > Endnotes

--------------------------------

How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years

(MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832.

(MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades.

Why Irish Americans Wore Blackface

(MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day."

(MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons."

The Blackface Burden of Jewishness

(MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface.

(MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

Contents

The Minstrel Show Will Never Die
Jim Crow and Tom Thumb
Irishness of it All
Irving Berlin Titillates
Gershwin´s Racial Profiling
Jews in Blackface
Jolson the Shlemiel
Strutting to R e d e m p t i o n < b r > Endnotes

--------------------------------

How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years

(MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832.

(MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades.

Why Irish Americans Wore Blackface

(MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day."

(MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons."

The Blackface Burden of Jewishness

(MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface.

(MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

Drive-In Nights is a look backward to the time when drive-in movie theaters lined almost every highway and filmmakers like Roger Corman and William Castle were grinding out stinkers like Teenage Caveman and The Tingler. J.D. Guilfoyle has put together a collection of pieces that celebrate his bond with the trash cinema and beyond, ranging from critiques of classic howlers like Attack of the Killer Shrews, including an interview with star James Best, to profiles of cinema’s last great Dracula, Christopher Lee.

Funny, nostalgic and informative, Drive-In Nights is a valentine to big cars, B movies and misspent youth.

Drive-In Nights is a look backward to the time when drive-in movie theaters lined almost every highway and filmmakers like Roger Corman and William Castle were grinding out stinkers like Teenage Caveman and The Tingler. J.D. Guilfoyle has put together a collection of pieces that celebrate his bond with the trash cinema and beyond, ranging from critiques of classic howlers like Attack of the Killer Shrews, including an interview with star James Best, to profiles of cinema’s last great Dracula, Christopher Lee.

Funny, nostalgic and informative, Drive-In Nights is a valentine to big cars, B movies and misspent youth.

SCREENWRITING INTO FILM is a dynamic new book that gives the reader five necessary steps to follow in preparing to write a screenplay that can increase their chances of success. This is a book of ideas that uses many classic, controversial and contemporary films to illustrate those ideas to the reader. In SCREENWRITING INTO FILM you will find illuminating insight on: how to build a character, how to establish solid motives for villainous or heroic characters, how to build conflict, how to find and demonstrate theme(s)and most importantly how to arrive at a great ending. A rewarding discussion of all of the elements that are indispensable in developing a good story and writing a great screenplay are within the pages of this book. There´s even a chapter on Book Adaptations that specifically tackles the three important aspects every screenwriter/filmmaker must know to prepare a successful adaptation of a novel or short story. ANYONE WHO WANTS TO FIND HIS OR HER OWN PERSONAL VOICE IN THE CINEMA SHOULD READ THIS BOOK; it was intentionally created for those who want to write and direct their own films, but it also has a general relevance for all film lovers and writers seeking deeper insight about the structure and meaning of this art. Informative, passionate and intelligent, SCREENWRITING INTO FILM was written by multiple award winning independent digital filmmaker, Andre Seewood.

Using a rich compendium of evidence and a provocative perspective, the second edition of SLAVE CINEMA takes a thorough and uncompromising look at African-American cinema, African-American social identity and the American film industry. This book addresses the specific artistic, ideological and moral challenges that face every African-American filmmaker. It is broken into three main parts: Slave Cinema part 1: The Crisis of African-American Independent Cinema. Slave Cinema part 2: Five Assumptions of Race that Shackle African-Americans in Film. Slave Cinema part 3: Five Errors that Constrict African-American Cinematic Style. This second edition contains a new chapter on RACE TRAITORS: White Filmmakers who make Black Films which discusses several groundbreaking films made by whites about blacks that have been overlooked or dismissed by many African-American critics and scholars. Written by multiple award winning independent writer and filmmaker Andre Seewood. SLAVE CINEMA is his second published non-fiction work. He is also the author of SCREENWRITING IN TO FILM: Forgotten Methods & New Possibilities.

SCREENWRITING INTO FILM is a dynamic new book that gives the reader five necessary steps to follow in preparing to write a screenplay that can increase their chances of success. This is a book of ideas that uses many classic, controversial and contemporary films to illustrate those ideas to the reader. In SCREENWRITING INTO FILM you will find illuminating insight on: how to build a character, how to establish solid motives for villainous or heroic characters, how to build conflict, how to find and demonstrate theme(s)and most importantly how to arrive at a great ending. A rewarding discussion of all of the elements that are indispensable in developing a good story and writing a great screenplay are within the pages of this book. There´s even a chapter on Book Adaptations that specifically tackles the three important aspects every screenwriter/filmmaker must know to prepare a successful adaptation of a novel or short story. ANYONE WHO WANTS TO FIND HIS OR HER OWN PERSONAL VOICE IN THE CINEMA SHOULD READ THIS BOOK; it was intentionally created for those who want to write and direct their own films, but it also has a general relevance for all film lovers and writers seeking deeper insight about the structure and meaning of this art. Informative, passionate and intelligent, SCREENWRITING INTO FILM was written by multiple award winning independent digital filmmaker, Andre Seewood.

Using a rich compendium of evidence and a provocative perspective, the second edition of SLAVE CINEMA takes a thorough and uncompromising look at African-American cinema, African-American social identity and the American film industry. This book addresses the specific artistic, ideological and moral challenges that face every African-American filmmaker. It is broken into three main parts: Slave Cinema part 1: The Crisis of African-American Independent Cinema. Slave Cinema part 2: Five Assumptions of Race that Shackle African-Americans in Film. Slave Cinema part 3: Five Errors that Constrict African-American Cinematic Style. This second edition contains a new chapter on RACE TRAITORS: White Filmmakers who make Black Films which discusses several groundbreaking films made by whites about blacks that have been overlooked or dismissed by many African-American critics and scholars. Written by multiple award winning independent writer and filmmaker Andre Seewood. SLAVE CINEMA is his second published non-fiction work. He is also the author of SCREENWRITING IN TO FILM: Forgotten Methods & New Possibilities.

WALKIN ON THE WILD SIDE is one of four unusual things. It is either a collection of short, quirky screenplays or plays. Or it is, taken as a whole, one screenplay which could be entitled WALKIN ON THE WILD SIDE-A QUIRKY SHORT FILM FESTIVAL. Or, WALKIN ON THE WILD SIDE-A QUIRKY SHORT PLAY FESTIVAL. It is for the unusual in you.And it is for me because this is what I like to see, read, and write.

God and the Devil Dancing through World War Three Together is a screenplay that reads like a novel. The plot is about everything – including the upcoming nuclear war between America and its former allies. The characters in this book include Caligula, Marie Antoinette, Wolf Larsen, yuppie cannibals, crack whores, Adolf Hitler, the Virgin Mary, the entire human race, etc. The story is completely unpredictable and the reader never knows what crazy, insane thing will happen next. God and the Devil Dancing through World War Three Together was written while Wolf Larsen lived in Lima, Peru in an apartment with a view of a little third world shanty town right across the street. This screenplay that reads like a novel is as sensual, immoral, and insane as the world we live in.

God and the Devil Dancing through World War Three Together is a screenplay that reads like a novel. The plot is about everything – including the upcoming nuclear war between America and its former allies. The characters in this book include Caligula, Marie Antoinette, Wolf Larsen, yuppie cannibals, crack whores, Adolf Hitler, the Virgin Mary, the entire human race, etc. The story is completely unpredictable and the reader never knows what crazy, insane thing will happen next. God and the Devil Dancing through World War Three Together was written while Wolf Larsen lived in Lima, Peru in an apartment with a view of a little third world shanty town right across the street. This screenplay that reads like a novel is as sensual, immoral, and insane as the world we live in.

Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in? How do I get an agent and how do I get that first job.¡¨ But getting an agent and that first job isn¡¦t going to get you very far. What aspiring writers should be asking is ¡§How do I build a successful career in Hollywood?¡¨ The agent and the first job is just the beginning. Hollywood is full of writers who sold one or two scripts and were never heard from again. What it takes to succeed on your first job and then build on it to get the next job and the next is what separates the ¡§one script wonder¡¨ from the writer with a Hollywood career.

Among the questions aspiring writers really need to ask are:

„« How Do I Know When My Spec Script Is Ready For Submission?
„« What Does An Agent Look For In A Writer Beyond Their Scripts?
„« Once I Have An Agent What Else Should I Be Doing?
„« When I Go To A ¡§Meet & Greet,¡¨ What Do I Say?
„« How Do I Prepare For The Different Types Of Pitch Meetings?
„« How Do I Handle Notes I Disagree With?
„« Do I Need A Lawyer And A Manager?

Most writers discover the answers to these questions through trial and error. But in Hollywood, errors can be costly to a writer¡¦s career. More than one writer has seen his career thwarted due to a simple lack of awareness. The goal of ¡§Writing For The Hollywood $¡¨ is to arm aspiring writers with as much information as possible so not only will the road to their first agent and sale be easier, but they¡¦ll also be able to avoid costly mistakes and have a much better chance of turning that first job into a another and another.

¡§Writing For The Hollywood $¡¨ begins by asking the writer to do some serious self-examination as it lists the basic ¡§ingredients¡¨ beyond a good script that a writer will need if they expect to build a career as a Hollywood writer. From here it goes on to cover topics such as dealing with executives, the different types of pitch meetings, the script notes process, the realities of working on a television writing staff and avoiding potential land mines that can damage a writer¡¦s forward progress. ¡§Writing for The Hollywood $¡¨ provides invaluable information for anyone who¡¦s ever aspired to write for the screen, by someone who¡¦s actually been there and done it.

Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in? How do I get an agent and how do I get that first job.¡¨ But getting an agent and that first job isn¡¦t going to get you very far. What aspiring writers should be asking is ¡§How do I build a successful career in Hollywood?¡¨ The agent and the first job is just the beginning. Hollywood is full of writers who sold one or two scripts and were never heard from again. What it takes to succeed on your first job and then build on it to get the next job and the next is what separates the ¡§one script wonder¡¨ from the writer with a Hollywood career.

Among the questions aspiring writers really need to ask are:

„« How Do I Know When My Spec Script Is Ready For Submission?
„« What Does An Agent Look For In A Writer Beyond Their Scripts?
„« Once I Have An Agent What Else Should I Be Doing?
„« When I Go To A ¡§Meet & Greet,¡¨ What Do I Say?
„« How Do I Prepare For The Different Types Of Pitch Meetings?
„« How Do I Handle Notes I Disagree With?
„« Do I Need A Lawyer And A Manager?

Most writers discover the answers to these questions through trial and error. But in Hollywood, errors can be costly to a writer¡¦s career. More than one writer has seen his career thwarted due to a simple lack of awareness. The goal of ¡§Writing For The Hollywood $¡¨ is to arm aspiring writers with as much information as possible so not only will the road to their first agent and sale be easier, but they¡¦ll also be able to avoid costly mistakes and have a much better chance of turning that first job into a another and another.

¡§Writing For The Hollywood $¡¨ begins by asking the writer to do some serious self-examination as it lists the basic ¡§ingredients¡¨ beyond a good script that a writer will need if they expect to build a career as a Hollywood writer. From here it goes on to cover topics such as dealing with executives, the different types of pitch meetings, the script notes process, the realities of working on a television writing staff and avoiding potential land mines that can damage a writer¡¦s forward progress. ¡§Writing for The Hollywood $¡¨ provides invaluable information for anyone who¡¦s ever aspired to write for the screen, by someone who¡¦s actually been there and done it.

The Bond Girl is one of the most recognized and celebrated cultural icons of the last fifty years. First introduced in Ian Fleming’s novels and short stories, producers Albert “Cubby” Broccoli and Harry Saltzman breathed life into her cinematic manifestation beginning with Dr. No in 1962. Since then, the world has been fascinated by the Bond Girl. Although she has been lauded by some as a liberated woman and true feminist archetype, the Bond Girl has virtually escaped critical study . . . until now. Shaken and Stirred: The Feminism of James Bond analyzes the cinematic Bond Girl and argues that the character initially served as a different archetype: one that reinforced a traditional, feminine ideal that served as a powerful reactionary symbol against the gender equality movement that gained prominence in the United States during the 1960s and 1970s. Shaken and Stirred: The Feminism of James Bond provides a glimpse into “second wave” feminism, the Women’s Liberation Movement, and cultural representations of women during the latter half of the American twentieth century through a Bondian lens. It traces the evolutionary journey of the cinematic Bond Girl and assesses her cultural impact, revealing who she is and what she represents during the first eleven films in the James Bond franchise, a seventeen-year period described as the Golden Era of the Bond Girl, and beyond.