Chapter
Open Access
CONTRIBUTORS
Chapters in this book
- Frontmatter ii
- CONTENTS v
- NOTE ON THE COMPANION WEBSITE ix
- FOREWORD Giving Voice, Taking Voice: Nonwhite and Nontheatrical xi
- ACKNOWLEDGMENTS xxv
- Introduction 1
- 1 "A Vanishing Race”? The Native American Films of J. K. Dixon 29
- 2 "Regardless of Race, Color, or Creed” Filming the Henry Street Settlement Visiting Nurse Service, 1924–1933 51
- 3 I’ll See You in Church” Local Films in African American Communities, 1924–1962 71
- 4 The Politics of Vanishing Celluloid: Fort Rupert (1951) and the Kwakwaka’wakw in American Ethnographic Film 92
- 5 Red Star/Black Star: The Early Career of Film Editor Hortense “Tee” Beveridge, 1948–1968 112
- 6 Charles and Ray Eames’s Day of the Dead (1957) Mexican Folk Art, Educational Film, and Chicana/o Art 136
- 7 Ever-Widening Horizons? The National Urban League and the Pathologization of Blackness in A Morning for Jimmy (1960) 157
- 8 "A Touch of the Orient” Negotiating Japanese American Identity in The Challenge (1957) 175
- 9 "I Have My Choice” Behind Every Good Man (1967) and the Black Queer Subject in American Nontheatrical Film 194
- 10 Televising Watts: Joe Saltzman’s Black on Black (1968) on KNXT 217
- 11 "A New Sense of Black Awareness”? Navigating Expectations in The Black Cop (1969) 236
- 12 "Don’t Be a Segregationist: Program Films for Everyone” The New York Public Library’s Film Library and Youth Film Workshops 253
- 13 Teenage Moviemaking in the Lower East Side: The Rivington Street Film Club, 1966–1974 271
- 14 Ro-Revus Talks about Race: South Carolina Malnutrition and Parasite Films, 1968–1975 290
- 15 Government-Sponsored Film and Latinidad: Voice of La Raza (1971) 313
- 16 An Aesthetics of Multiculturalism: Asian American Assimilation and the Learning Corporation of America’s Many Americans Series (1970–1982) 333
- 17 "The Right Kind of Family” Memories to Light and the Home Movie as Racialized Technology 353
- 18 Black Home Movies: Time to Represent 372
- SELECTED BIBLIOGRAPHY 393
- CONTRIBUTORS 401
- INDEX 403
Chapters in this book
- Frontmatter ii
- CONTENTS v
- NOTE ON THE COMPANION WEBSITE ix
- FOREWORD Giving Voice, Taking Voice: Nonwhite and Nontheatrical xi
- ACKNOWLEDGMENTS xxv
- Introduction 1
- 1 "A Vanishing Race”? The Native American Films of J. K. Dixon 29
- 2 "Regardless of Race, Color, or Creed” Filming the Henry Street Settlement Visiting Nurse Service, 1924–1933 51
- 3 I’ll See You in Church” Local Films in African American Communities, 1924–1962 71
- 4 The Politics of Vanishing Celluloid: Fort Rupert (1951) and the Kwakwaka’wakw in American Ethnographic Film 92
- 5 Red Star/Black Star: The Early Career of Film Editor Hortense “Tee” Beveridge, 1948–1968 112
- 6 Charles and Ray Eames’s Day of the Dead (1957) Mexican Folk Art, Educational Film, and Chicana/o Art 136
- 7 Ever-Widening Horizons? The National Urban League and the Pathologization of Blackness in A Morning for Jimmy (1960) 157
- 8 "A Touch of the Orient” Negotiating Japanese American Identity in The Challenge (1957) 175
- 9 "I Have My Choice” Behind Every Good Man (1967) and the Black Queer Subject in American Nontheatrical Film 194
- 10 Televising Watts: Joe Saltzman’s Black on Black (1968) on KNXT 217
- 11 "A New Sense of Black Awareness”? Navigating Expectations in The Black Cop (1969) 236
- 12 "Don’t Be a Segregationist: Program Films for Everyone” The New York Public Library’s Film Library and Youth Film Workshops 253
- 13 Teenage Moviemaking in the Lower East Side: The Rivington Street Film Club, 1966–1974 271
- 14 Ro-Revus Talks about Race: South Carolina Malnutrition and Parasite Films, 1968–1975 290
- 15 Government-Sponsored Film and Latinidad: Voice of La Raza (1971) 313
- 16 An Aesthetics of Multiculturalism: Asian American Assimilation and the Learning Corporation of America’s Many Americans Series (1970–1982) 333
- 17 "The Right Kind of Family” Memories to Light and the Home Movie as Racialized Technology 353
- 18 Black Home Movies: Time to Represent 372
- SELECTED BIBLIOGRAPHY 393
- CONTRIBUTORS 401
- INDEX 403
