Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism

Chris Robé

Home Arts Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism

Chapter

Licensed

Unlicensed Requires Authentication

Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism

Chris Robé

Published by

View more publications by University of Texas Press

To Publisher Page

This chapter is in the book Left of Hollywood

MLA
APA
Harvard
Chicago
Vancouver

MLA
APA
Harvard
Chicago
Vancouver

Robé, Chris. "Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism". Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture, New York, USA: University of Texas Press, 2010, pp. 132-191. https://doi.org/10.7560/722965-005

Robé, C. (2010). Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism. In Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture (pp. 132-191). New York, USA: University of Texas Press. https://doi.org/10.7560/722965-005

Robé, C. 2010. Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism. Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture. New York, USA: University of Texas Press, pp. 132-191. https://doi.org/10.7560/722965-005

Robé, Chris. "Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism" In Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture, 132-191. New York, USA: University of Texas Press, 2010. https://doi.org/10.7560/722965-005

Robé C. Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism. In: Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture. New York, USA: University of Texas Press; 2010. p.132-191. https://doi.org/10.7560/722965-005

Copy

Copied to clipboard

BibTeX EndNote RIS

You are currently not able to access this content.

Chapters in this book

Frontmatter i
Contents v
Acknowledgments vii
Introduction. Unfinished Promises to an Orphaned Time 1
Chapter One. Montage, Realism, and the Male Gaze 37
Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism 80
Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism 132
Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise 192
Conclusion. Fragments of the Future 229
Notes 237
Bibliography 271
Index 289

Search book Search the content of this book

https://doi.org/10.7560/722965-005

Chapters in this book

Frontmatter i
Contents v
Acknowledgments vii
Introduction. Unfinished Promises to an Orphaned Time 1
Chapter One. Montage, Realism, and the Male Gaze 37
Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism 80
Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism 132
Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise 192
Conclusion. Fragments of the Future 229
Notes 237
Bibliography 271
Index 289

Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism

Chapter PDF View

Chapters in this book

Chapters in this book

Chapters in this book