Podcast appearances and mentions of Oscar Micheaux

Let us introduce you to Our Ancestors Were Messy, a podcast covering the gossip, scandals, and pop culture that made headlines in the Black newspapers of segregated communities during the pre-Civil Rights era. On each episode, host Nichole Hill and her guests follow the story of an ancestor who went searching for opportunity, adventure, liberation, and love and made a mess - and eventually history - along the way.On this episode, Ray joins Nichole for "Oscar Micheaux and the Family Feud That Launched Black Hollywood".At the turn of the century, Oscar Micheaux - a dreamer from Smallville - makes his way to the big city searching for fame, fortune...and a change to his single status! What he finds is a wife he loves, a father-in-law he hates, and a path into Black history he could have never imagined.

Nasty Women Return! Karen Pearlman on Breaking Plates and Smashing the Patriarchy • Rhea Combs on Oscar Micheaux: The Complete Collection • Katie Gee Salisbury, author of Not Your China Doll: The Wild and Shimmering Life of Anna May Wong (92:56)

Erik Childress & Peter Sobczynski bring you this week's physical media roundup which includes a great upgrade for the family involving a cat and a mouse. Horror fans get some 4K upgrades from four different decades. Film Noir gets several different takes including through the mind of Woody Allen. A legendary black filmmaker championed over the years by Sergio Mims gets his whole collection. There are early appearances by Sam Elliott, Sean Penn and John Cusack along with a reappraisal of a current Oscar contender. A more positive reappraisal has been happening for years with a Shane Black film now in 4K and Peter takes us down the rabbit hole of the time Jean-Luc Godard made a Shakespeare adaptation for Cannon Films. 0:00 – Intro 3:09 - Criterion (King Lear) 17:26 - Warner Archive (Tom and Jerry: The Complete CinemaScope Collection) 21:31 – Warner Bros. (The Nice Guys 4K) 30:18 - Kino (Oscar Micheaux: The Complete Collection, Film Noir: The Dark Side of Cinema XXIII (Rope of Sand / Kiss Tomorrow Goodbye / Never Love a Stranger), Play It Again Sam, Hot Pursuit) 57:11 - Fun City (Lifeguard, Racing with the Moon) 1:08:50 - Universal (Conclave 4K) 1:13:42 - Arrow (Alice Sweet Alice 4K) 1:22:52 - Shout Factory (Galaxy of Terror 4K, Ghosts of Mars 4K, The Last Voyage of the Demeter 4K) 1:35:21 – New Blu-ray Announcements

Tell us what you though of the episodeToday's guest is Author Patrick McGilligan about his latest book, "Woody Allen: A Travesty of a Mockery of a Sham," exploring Woody Allen's iconic films, the controversies that clouded his career, and his enduring legacy in cinema. From "Annie Hall" to "Matchpoint," they discuss the highs and lows of Allen's filmography, the cultural impacts of his work, and the complexities of separating art from controversy. Patrick McGilligan is Irish American biographer, film historian and writer. His biography on Sir Alfred Hitchcock, Alfred Hitchcock: A Life in Darkness and Light, was a finalist for the Edgar Award.  He is the author of two New York Times Notable Books, and he lives in Milwaukee, Wisconsin. He is also noted for his biography on Clint Eastwood, Clint: The Life and Legend, which the author described as "a left-wing book."  In addition to Hitchcock and Eastwood, he has written biographies on Robert Altman, James Cagney, George Cukor, Fritz Lang, Oscar Micheaux, Jack Nicholson, Nicholas Ray, Orson Welles and Mel Brooks. He is also an editor of Backstory, which features interviews of Hollywood screenwriters and is published by the University of California Press. #thegreatnorth #colinhanksdexter #filmcareeranalysis #woodyallen #miafarrow #crimesandmisdemeanors #midnightinparis #anniehall #woodyallenlegacy #woodyallen http://twitter.com/dreamingkingdomhttp://instagram.com/kingdomofdreamspodcasthttp://facebook.com/kingdomofdreamspodcast Watch the feature films that I have directedCitizen of Moria - https://rb.gy/azpsuIn Search of My Sister - https://rb.gy/1ke21Official Website - www.jawadmir.com

This month on South Dakota Legends and Lore, we celebrate Black History Month by learning a little bit about four notable South Dakotans.Lucretia Marchbanks was the second black woman in Dakota Territory, and became very successful in Deadwood.Sarah Campbell was the very first non-Native woman in Dakota Territory with the Custer expedition.Oscar Micheaux was a homesteader in Gregory County, SD who went on to write novels and produce films.Cleveland Abbott (born in Yankton, SD) became a renowned athlete and coach.Plus reading recommendations for two notable February birthdays: Abraham Lincoln and Frederick Douglass.Narrated and edited by Adrian Ludens.Music by Louis Island and Straight With Teeth. Used by permission.

The first great Black filmmaker Oscar Micheaux inspired the 70s revolution of urban dramas and comedies that served as the launchpad for the gritty hip-hop action pieces and soulful family romances of the 80s and 90s. Today, the Black experience is the face of billion-dollar movie franchises and multiple award-winning and groundbreaking series. Is this a Black Renaissance, or is it just dues being paid? In December of 2022, Jay sat with BlackStar Film Festival creator and CEO Maori Holmes to hear her thoughts on the subject. __________________________ Black History Year (BHY) is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school and explore pathways to liberation with people leading the way. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. Hosting BHY is Jay (2020-2023) and Darren Wallace (2024). The BHY production team includes Jareyah Bradley and Brooke Brown. Our producers are Cydney Smith and Len Webb for PushBlack, and Lance John with Gifted Sounds edits and engineers the show. BHY's executive producers are Julian Walker and Lilly Workneh. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

As we end this year, we pay tribute to Oscar Micheaux, an amazing black film producer/director/writer and independent studio owner. Starting in silent films, and going to ‘talkies' when they arrived on the scene, Oscar Micheaux challenged racism, classism, stereotypes, and other social injustices long before current writers and directors. His movies and message were direct, and called out the poor behavior on everyone's part with simple, clean stories. A number of his films are lost to time, so far, but those that have survived are works of art that every social-message artist should needs to see.  Jim and Dani cover Oscar's life and his works. Also discussed is the bravery and conviction Oscar Micheaux had to stay true to himself and his message in the early to mid 1900s. Places to learn more about Oscar Micheaux and see his films: Filmography  https://archive.org/details/oscar-micheaux-filmography/6+The+Exile+(1931)+First+Black+Feature+Talkie.mp4 Committee https://www.micheaux.org/oscar-micheaux Reference https://www.britannica.com/biography/Oscar-Micheaux https://www.encyclopedia.com/people/literature-and-arts/film-and-television-biographies/oscar-micheaux https://daily.jstor.org/how-oscar-micheaux-challenged-the-racism-of-early-hollywood/

In remembrance of actor and producer Tony Todd (1954-2024), the Mission revisits 2018 when Vincent and Len participated in a memorable three-way call with "The Candyman" himself. During this uncensored and unfiltered conversation, they discussed a range of topics, including the Philadelphia Eagles, New England sports, Barack Obama versus Donald Trump, legendary boxer Jack Johnson, Oscar Micheaux, and much more. Rate & Review The Mission on Apple Email  micheauxmission@gmail.com Follow The Mission on Instagram Subscribe to the Mission on YouTube  Get your Micheaux Mission SWAG from TeePublic We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

Expected to open in the historic Boone Theater in February 2026, the attraction will celebrate Black Americans' contributions to the film industry. The first class of inductees — including Oscar Micheaux, Harry Belafonte and Janelle Monáe — all have Kansas City ties.

In a recent podcast interview on "A Conversation with Host Floyd Marshall Jr.," the co-founders of the Micheaux Film Festival, Noel Braham and Courtney L. Branch, discuss their inspiring journey of leadership, community building, and their mission to amplify the voices of independent filmmakers. The Journey from College Friends to Industry Trailblazers Noel Braham and Courtney L. Branch's journey began as college friends with a shared passion for filmmaking. Their friendship, rooted in creativity and collaboration, evolved into a powerful partnership that led to the creation of the Micheaux Film Festival in 2018. In their interview, they reflected on their humble beginnings, initially hosting local screenings of popular shows like Insecure. Braham and Branch revealed that their festival was born out of a desire to give independent filmmakers a platform that embraces diversity and creativity. Their festival, inspired by pioneering African American filmmaker Oscar Micheaux, is more than just a celebration of cinema; it's a beacon of hope for underrepresented voices in the film industry. Uplifting Underrepresented Creatives As Emmy-nominated filmmakers, Braham and Branch understand the struggles faced by independent artists. Their Micheaux Film Festival aims to fill a significant gap in Hollywood, providing a platform for those whose stories might otherwise go unheard. “We want to shift the spotlight away from ourselves and give a voice to others,” Braham shared during the podcast. The festival, which has grown significantly since its inception, is built on the principle of inclusivity. Branch emphasized their commitment to providing a space for creatives from all walks of life. “We don't just see ourselves as an organization,” she noted, “We're a family.” This sense of community sets the Micheaux Film Festival apart, creating an environment where filmmakers feel seen, valued, and celebrated. Overcoming Challenges and Staying True to the Mission Launching and growing a film festival through the trials of a global pandemic presented numerous challenges. Braham and Branch discussed the hurdles they faced, from limited resources to navigating the complex landscape of the film industry during such uncertain times. Despite these obstacles, their passion and commitment to the Micheaux Film Festival's mission never wavered. Branch shared that their resilience comes from their belief in the power of perseverance, echoing Oscar Micheaux's words: “There is no barrier to success that diligence and perseverance cannot hurdle.” This mindset has fueled their growth and helped them stay focused on their goal to champion independent filmmakers. Building a Lasting Legacy During the podcast, both Braham and Branch expressed their desire to continue building a lasting legacy. They aim to expand the Micheaux Film Festival's reach, creating more opportunities for filmmakers to showcase their work, gain industry insights, and connect with like-minded creatives. Their vision is to not only celebrate film but also to serve as a launching pad for the careers of emerging artists. Their conversation with Floyd Marshall Jr. highlighted the importance of staying true to one's purpose, building community, and creating platforms that allow diverse voices to shine. For filmmakers and aspiring filmmakers, the Micheaux Film Festival serves as an inspiring reminder that perseverance, collaboration, and vision can truly transform the industry. Watch the Full Interview To hear more about Noel Braham and Courtney L. Branch's inspiring story, watch the full podcast interview “A Legacy of Leadership: The Micheaux Trailblazers” on YouTube. ============= Submit Your Film to Our Film Collective: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ifapfilmcollective.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect With Floyd Marshall Jr: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/floydmarshalljr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/aconversationwithfm/support

"A story of the race with an ALL-COLORED CAST" For our penultimate episode of the season, we provide a feature-length commentary for Oscar Micheaux's landmark proto-race film Within Our Gates (1920). To watch the film along with us, head to our YouTube page. Follow the Show:TwitterInstagramWebsite Music by Mike Natale

The first episode of our Paul Robeson Acteurist Oeuvre-view series has a high context-to-text ratio, as we introduce one of the most important figures in entertainment and political activism of the 20th century. The two movies we look at, Oscar Micheaux's Body and Soul (1925) and Kenneth Macpherson's Borderline (1930), by auteurs from radically different backgrounds with radically different aims, provide a fascinating glimpse of the spectrum of possibilities for independent cinema in the late silent era.  Time Codes: 0h 00m 30s:      Brief Introduction to Paul Robeson 0h 08m 53s:      BODY & SOUL (1925) [dir. Oscar Micheaux] 0h 34m 03s:      BORDERLINE (1930) [dir. Kenneth Macpherson] References: Paul Robeson: The Artist as Revolutionary by Gerald Horne “The Homesteader” article in The Believer by Will Sloan +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

There is one notorious film that compelled Oscar Micheaux and Spike Lee to respond.Written by Nicole DixonRead by Kassandra Timm

Kim Masters and Matt Belloni discuss recent Hollywood developments, including Joaquin Phoenix's sudden exit from a film just days before shooting and Paramount Pictures' decision to shut down a studio and layoff 2,000 workers. The industry grapples with uncertainty as Paramount and other major players navigate shifting dynamics.  Plus, NPR’s TV critic and media analyst, Eric Deggans speaks with ‘Dear White People’ creator Justin Simien. His new docuseries Hollywood Black chronicles over a century of Black experiences in Hollywood, exploring the contributions of Black actors, writers, and directors. Simien discusses the pivotal pioneers like Donald Bogle and Oscar Micheaux while sharing personal insights on navigating racial barriers in the industry. 

For Part 2 of our Summer Rep Report, film programmer Jessica Green joins to discuss Passing You By: Impostorism on Film, a new series she's programmed titled at the Brooklyn Academy of Music. The series opens today and runs through August 15 and focuses on movies that all explore the act of passing—be it for another race, gender, class, or nationality.  Film Comment editors Clinton Krute and Devika Girish spoke with Jessica about some of the highlights from the lineup, including Rebecca Hall's Passing (2021), which adapts Nella Larsen's 1920s novel of the same name; Oscar Micheaux's silent-cinema classic, The Symbol of the Unconquered (1920), which was made in response to The Birth of a Nation (1915) and now features a score recorded by Max Roach; Omar (2013), a Palestinian film by director Hany-Abu Assad; as well as some lighter, yet thematically rich fare, like White Chicks (2004) and Coming to America (1988).

A short take on the works of a autobiographer turned novelist turned filmmakerWritten by Nicole DixonRead by Kassandra Timm 

The Men of Micheaux review a gem from the filmography of their namesake and dare to offer their ideas for remakes of the lost films of Oscar Micheaux, PLUS Oliver Platt, Halle Berry vs Cynda Williams, The Prestige and more. Rate & Review The Mission on Apple Email  micheauxmission@gmail.com Follow The Mission on Instagram Subscribe to the Mission on YouTube  Get your Micheaux Mission SWAG from TeePublic We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

    Happy Women's History Month!  On this episode of the @supadupapod we are joined my media maven, entrepreneur, and intellectual diva, Denitria Lewis @dnyree! We talk about the Oscars, Oscar Micheaux, a Black Film Awards, Tubi #ofcoursewedid, and more!   Denitria also gives us a list of Women that she admires and honors them in her own way! Thanks for listening to the @supadupapod. Please like, share and leave a review!   Produced by : Ez McMahon Music By: @jkwest hp53productions.com Email: supadupapod@gmail.com IG: @supadupapod, @hp53productions     TikToK: @supadupapod  

Trey's Table Season 3: Episode 12 Oscar Micheaux: Using Film to Fight Racism In this episode I talk about the trailblazing African American filmmaker Oscar Michauex and the impact of his film career. https://youtu.be/rSi-iWGxtLY?s...https://youtu.be/LHRBK3Q23Ek?s...https://youtu.be/rSi-iWGxtLY?s...https://youtu.be/i0MbLCpYJPA?s... https://africana.sas.upenn.edu... #treystable #blackpodcasters

Oscar Micheaux (geboren am 2. Januar 1884) ist seiner Zeit voraus: Als Schwarzer ist er nicht nur Siedler im Wilden Westen, er ist auch Pionier des afroamerikanischen Kinos.

This month we're excited to analyze the films in our January theme of PORTRAITS OF THE ARTISTS. In this theme we will be discussing the films of two major black leading men in film. For our Monday classics we will be exploring the films of Paul Robeson, an actor and activist who would be an outlier in any era of film. The title of our theme is inspired from the Criterion Collection's Paul Robeson set titled “Portraits of the Artist”. For our first discussion in this New Year of MOVIEHUMPERS, we're going to explore an important root in film history with an early work by the prolific pioneering director, Oscar Micheaux. Religion gets a little dragged as a crooked and fraudulent reverend (played by Paul Robeson) has connived his way into women and money in the small town of Tatesville. Isabella's mother wont let her marry the nerdy ass inventor, Sylvester (also played by Paul Robeson) because she's gotta marry the evil faux reverend. Some great characters in a fairly strange story with an early appearance of a certain film trope. Oscar Micheaux certainly has plenty to say with his 1925 silent film “BODY AND SOUL”, which you can find easily on Youtube: https://www.youtube.com/watch?v=-A9alUp1pa8 Check out some history and hear our take on it. This is just the beginning of our talks on Paul Robeson and there is LOTS of Denzel Washington to pair with it. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Oscar Micheaux (geboren am 2.1.1884) ist seiner Zeit voraus: Als Schwarzer ist er nicht nur Siedler im Wilden Westen, er ist auch Pionier des afroamerikanischen Kinos. Von Almut Finck.

"A Mighty Epic Of Modern Morals!" Vincent Williams and Len Webb of The Micheaux Mission stop by the show to talk about the first "race film" inducted into the National Film Registry, and it's...not by Oscar Micheaux. We're talking about actor/director Spencer Williams' 1941 morality play The Blood of Jesus. We tackle the equally complex topics of race, religion, and whether Madea Goes to Jail or Boo 2! A Madea Halloween is getting into the Registry first.Watch the full film The Blood of Jesus for free on our YouTube channel: https://youtu.be/U4oCPxG_UiMHosts:Michael NataleTwitterLetterboxd Tom LorenzoTwitterLetterboxd Producer:Kyle LamparTwitter Guest:The Micheaux MissionWebsite Follow the Show:TwitterInstagramWebsite Music by Mike Natale

On this episode, your intrepid host falls down a rabbit hole while doing research for one thing, and ends up discovering something "new" that must be investigated further, the 1987 action/comedy Oklahoma Smugglers. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   You were probably expecting the third part of the Miramax Films in the 1980s series, and we will get to that one the next episode. But as often happens while I'm researching, I'll fall down a rabbit hole that piques my interest, and this time, it was not only discovering a film I had never heard of, but it fits within a larger discussion about disappearing media.   But before we get started, I need to send out a thank you to Matthew Martin, who contacted me via email after our previous episode. I had mentioned I couldn't find any American playdates for the Brian Trenchard-Smith movie The Quest around the time of its supposed release date of May 1st, 1986. Matthew sent me an ad from the local Spokane newspaper The Spokesman-Review dated July 18th, 1986, which shows the movie playing on two screens in Spokane, including a drive-in where it shared a screen with “co-hit” Young Sherlock Holmes. With that help, I was also able to find The Quest playing on five screens in the Seattle/Tacoma area and two in Spokane on July 11th, where it grossed a not very impressive $14,200. In its second week in the region, it would drop down to just three screens, and the gross would fall to just $2800, before disappearing at the end of that second week. Thank you to Matthew for that find, which gave me an idea.   On a lark, I tried searching for the movie again, this time using the director's last name and any day in 1986, and ended up finding 35 playdates for The Quest in Los Angeles, matinees only on Saturday, October 25th and Sunday, October 26th, one to three shows each day on just those two days.   Miramax did not report grosses.   And this is probably the most anyone has talked about The Quest and its lack of American box office. And with that, we're done with it. For now.   On this episode, we're going to talk about one of the many movies from the 1980s that has literally disappeared from the landscape. What I mean by that is that it was an independently made film that was given a Southern regional release in the South in 1987, has never been released on video since its sole VHS release in 1988, and isn't available on any currently widely used video platform, physical or streaming.   I'll try to talk about this movie, Oklahoma Smugglers, as much as I can in a moment, but this problem of disappearing movies has been a problem for nearly a century. I highlight this as there has been a number of announcements recently about streaming-only shows and movies being removed from their exclusive streaming platform, some just seven weeks after their premieres.   This is a problem.   Let me throw some statistics at you.   Film Foundation, a non-profit organization co-founded by Martin Scorsese in 1990 that is dedicated to film preservation and the exhibition of restored and classic cinema, has estimated that half of all the films ever made before 1950 no longer exist in any form, and that only 10% of the films produced before the dawn of the sound era of films are gone forever. The Deutsche Kinemathek, a major film archive founded in Berlin in 1963, also estimates that 80-90% of all silent films ever have been lost, a number that's a bit higher than the US Library of Congress's estimation that 75% of all silent film are gone. That includes more than 300 of Georges Méliès' 500 movies, a 1926 film, The Mountain Eagle, that was the second film directed by Alfred Hitchcock, and London After Midnight, considered by many film historians to be “the holy grail” of lost films. A number of films from directors like Michael Curtiz, Allan Dwan, and Leo McCarey are gone. And The Betrayal, the final film from pioneering Black filmmaker Oscar Micheaux, is no longer with us.    There are a number of reasons why many of these early movies are gone. Until the early 1950s, movies were often shot and printed on nitrate film, a highly flammable substance that can continue to burn even if completely submersed in water. During the earlier years of Hollywood, there were a number of fires on studio lots and in film vaults were original negatives of films were stored. Sometimes, studios would purposely incinerate old prints of films to salvage the silver particles within the nitrate film. Occasionally, a studio would destroy an older film when they remade that film with a new cast and director. And sometimes films, like Orson Welles' original cut of The Magnificent Ambersons, would be dumped into the ocean off the Southern California coast, when studios no longer wanted to pay to store these elements.   Except Oklahoma Smugglers does not fit into any of those scenarios. It's less than forty years old, in color, with a synchronized soundtrack. It's crime was being a small budgeted independently distributed movie from an independent production company that was only released in a small section of the United States, and never got any traction outside of that region.   Not that this alone is why it disappeared.   You may recall hearing about David Zaslav, the head of the mega entertainment conglomerate Warner Brothers Discovery, cancelling the release of two completed films, a Batgirl movie that would have featured Michael Keaton's return as Batman a full year before The Flash, and a sequel to a fairly successful Scooby Doo animated movie. Warner Brothers had spent more than $200m between the two films. They were shot, edited and scored, and ready for release. Then Zaslav decided these were of the quality he expected for Warner Brothers movies, and wrote them off for the tax break. Unless someone at Warners somewhere down the line decides to pay back the tax incentive to the Fed, these two movies will never legally be allowed to be shown, effectively making them lost films.   Again, there are many ways for a film to become lost.   In our case, it seems that Oklahoma Smugglers is an unfortunate victim of being the one and only film to be produced by Cambridge Entertainment Corporation, based in Needham MA. The company was founded on September 10th, 1986 and went into involuntary dissolution on December 31st, 1990, so it's very likely that the company went bankrupt and no company was interested in picking up the assets of a small independent production company with only one tangible asset, this movie.   So here is what I could find about Oklahoma Smugglers.   The film was produced and directed by Ota Richter, whose only previous film work was writing, producing a directing a horror comedy called Skullduggery in 1982. The film has its fans, but they are few and far between. Three years later, in 1985, Richter would work with a first time screenwriter named Sven Simon to come up with the story for Oklahoma Smugglers. When the script was completed, Richter would raise the money he would need to shoot the movie in Toronto with a no-name cast lead by George Buzz and John Novak, and a four week production schedule between February 24th and March 21st, 1986. One can presume the film was locked before September 10th, 1986, when Cambridge Entertainment Corporation was founded, with Ota Rickter as its treasurer. The other two members of the Cambridge board, company President Neil T. Evans, and company Secretary Robert G. Parks, appear to have not had any involvement with the making of the movie, and according to the Open Corporates database, the men had never worked together before and never worked together again after this company.   But what Neil Evans did have, amongst the six companies he was operating in and around the Boston area at the time, was a independent distribution company called Sharp Features, which he had founded in April of 1981, and had already distributed five other movies, including the Dick Shawn comedy Good-bye Cruel World, which apparently only played in Nashville TN in September 1982, and a 1985 documentary about The Beach Boys.   So after a year of shopping the film around the major studios and bigger independent distributors, the Cambridge team decided to just release it themselves through Sharp Features. They would place an ad in the September 16th, 1987 issue of Variety, announcing the film, quote unquote, opens the Southeast on September 18th, just two days later.   Now, you'll notice I was able to find a lot of information about the people behind the film. About the companies they created or had already created to push the film out into the market. The dates it filmed, and where it filmed. I have a lot of sources both online and in my office with more data about almost every film ever released. But what I can't tell you is if the film actually did open on September 18th, 1987. Or how many theatres it played in. Or how much it grossed that first weekend. Or if any theatres retained it for a second week. Or any reviews of the movie from any contemporary newspaper or magazine. Outside of the same one single sentence synopsis of the movie, I had to turn to a Finnish VHS release of the film for a more detailed synopsis, which roughly translates back into English as such:   “Former Marines Hugo and Skip are living the best days of their lives. Hugo is a real country boy and Skip again from a "better family." Together they are a perfect pair: where Skip throws, Hugo hurls his fists. Mr. Milk, who offers security services, takes them on. Mr. Milk's biggest dream is to get hold of his nemesis "Oklahoma Smuggler" Taip's most cherished asset - a lucrative casino. Mr. Taip is not only a casino owner, but he handles everything possible, from arms smuggling to drugs. The fight for the ownership of the Oklahoma Smuggler casino is a humorous mix of fistfights, intrigues and dynamite where Hugo and Skip get the hero's part. What happens to the casino is another matter.”   Okay, that sounds like absolute crap.   But here's the thing.   I actually enjoy checking out low budget movies that might not be very good but are at least trying to be something.   I would be very interested in seeing a movie like Oklahoma Smugglers. But I can't the darn thing anywhere. It's not posted to YouTube or Vimeo or any video sharing service I know of. It's not on The Internet Archive. It's not on any of the Russian video sites that I occasionally find otherwise hard to find movies.   There's no entry for the film on Wikipedia or on Rotten Tomatoes. There is an IMDb page for the film, with a grand total of one user rating and one user review, both from the same person. There's also only one rating and mini-review of it on Letterboxd, also from the same person. There is a page for the film on the Plex website, but no one has the actual film.   This film has, for all intents and purposes, vanished.   Is that a good thing?   Absolutely not.   While it's highly likely Oklahoma Smugglers is not a very good movie, there's also a chance it might actually be stupid, goofy fun, and even if its a low quality dupe off a VHS tape, it should be available for viewing. There should be some kind of movie repository that has every movie still around that is in the public domain be available for viewing. Or if the owners of a movie with a still enforceable copyright have basically abandoned said copyright by not making the film available for consumption after a certain amount of time or for a certain amount of time, it also become available. This would not only help films like Oklahoma Smugglers be discovered, but it would also give film lovers the chance to see many movies they've heard about but have never had the opportunity to see. Even the original theatrical version of the first three Star Wars movies are no longer available commercially. Outside of a transfer of the early 1990s laserdisc to DVD in 2004, no one has been able to see the original versions in nearly twenty years. The closest one can get now are fan created “Despecialized” editions on the internet.   Film fans tend to think of film as a forever medium, but it's becoming ever increasingly clear that it far from that. And we're not just talking about American movies either. When I said it is estimated that half the films ever made are considered lost, that includes movies from all corners of the globe, across several generations. From Angola and Australia to the former Yugoslavia and Zambia. Gone forever.   But every once in a while, a forgotten film can come back to life. Case in point, The Exiles, a 1958 film written, produced and directed by Kent Mackenzie, about a group of Native Americans who have left their reservation in search of a new life in Los Angeles' Bunker Hill neighborhood. After premiering at the 1961 Venice Film Festival, the film was never picked up for theatrical distribution, and for many years, the only way to see it was the occasional screening of the film as some college film society screening of the one 16mm print of the film that was still around. Cinephiles were aware of the film, but it wouldn't be until the exceptional 2004 video essay Los Angeles Plays Itself by Thom Anderson that many, including myself, even learned of the film's existence. It would take another four years of legal maneuvering for Milestone Films to finally give The Exiles a proper theatrical and home video release. The following year, in 2009, with new public exposure to the film, the Library of Congress included The Exiles on their National Film Registry, for being of culturally, historically or aesthetically" significance. In the case of The Exiles, much of Bunker Hill was torn down shortly after the making of the film, so in many ways, The Exiles is a living visual history of an area of Los Angeles that no longer exists in that way. It's a good film regardless, but as a native Angelino, I find The Exiles to be fascinating for all these places that disappeared in just a few short years before my own birth.   So, that's the episode for this week.   Thank you for joining us. We'll talk again next week, when we continue our miniseries on Miramax Films in the 1980s.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Oklahoma Smugglers.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Hollywood's representation of underserved and marginalized populations has been under scrutiny since the first film flickered. Authentic storytelling that fully embraces the complexity and vibrancy of any people must be rooted in, and informed by, those people. Early in the 20th Century, film provided a window to the lives, stories, and narratives of those far and wide. And, as we learned from the comic book industry, with great power, comes great responsibility! Unfortunately, many early filmmakers used this power to further spread inaccuracies and hatred. One of these most famous films is “Birth of a Nation,” D. W. Griffith's 1915 adaptation of the 1905 novel, “The Clansmen.” It tells the story of two families dealing with the fallout of the civil war with a very slanted view. To contrast, early Black filmmaker and novelist Oscar Micheaux wrote and directed the 1919 film “The Homesteader,” which chronicled life for Black Americans during post-civil War, but from an authentic perspective, offering a counter-argument to Griffith and the work of other filmmakers at the time. In this episode of Systemic, our host Dan Kimbrough sits down with Dr. Charlene Regester from the University of North Carolina, Chapel Hill. Dr. Regester teaches in the Department of African, African American, and Diaspora Studies, and her work focuses on early black film history, including black filmmakers, actresses, actors, and performers. Our discussion looks at the life and works of Oscar Micheaux and how we almost lost them; the film-going and artistic experience for Black people in the early 20th century; and the lessons filmmakers and society as a whole should learn from these early efforts.

It's a first for The Oscar Project, an interview with an author who writes about movies. Today's guest is Mia Mask, a professor at Vassar College where she teaches African American cinema, Documentary History, and seminars on topics including horror film and auteurs like Spike Lee, Charles Burnett and Ava DuVernay. She also teaches feminist film theory, African national cinemas, and other genre courses. Her commentary can be heard on NPR and her first book Divas on Screen: Black Women in American Film was published in 2009. Today she joins me to talk about her new book Black Rodeo: A History of the African American Western.Listen to hear about Mia's work with Criterion, including getting to speak with actor Sidney Poitier, what three of her favorite westerns are, and much more.Books mentioned in this episode include:The Western in the Global South by MaryEllen Higgins, Rita Keresztesi, and Dayna OscherwitzUndead in the West: Vampires, Zombies, Mummies, and Ghosts in the Cinematic Frontier by Cynthia J. Miller and A. Bowdoin Van RiperHorror Noire: Blacks in American Horror Films from the 1890s to Present by Robin R. Means ColemanHorse by Geraldine BrooksFilms mentioned in this episode include:The Learning Tree directed by Gordon ParksBuck and the Preacher directed by Sidney PoitierThomasine and Bushrod directed by Gordon Parks Jr.Queen & Slim directed by Melina MatsoukasBonnie & Clyde directed by Arthur PennDjango Unchained directed by Quentin TarantinoThe Harder They Come directed by Perry HenzellFive Fingers for Marseilles directed by Michael MatthewsThe Homesteader directed by Oscar Micheaux and Jerry MillsSwingtime directed by George StevensA Raisin in the Sun directed by Daniel PetrieHorror Noire: A History of Black Horror directed by Robin Givens, Kimani Ray Smith, Rob J. Greenlea, Director X., Zandashé Brown, and Joe WestCheck out Wikipedia for more information about the Lobo Comics mentioned in the interview.

This week on the BIG show, our panel will discuss the release of Slate Magazine and NPR's list of the 75 best films from Black directors, called The New Black Film Canon.The list features films over the past century highlighting work from luminaries such as Oscar Micheaux, Spencer Williams, Ousime Sembene, Spike Lee, Melvin Van Peebles, Julie Dash, Gina Prince-Bythewood, and a host of others. Plus, Chris Rock is poised to make history this weekend with his new comedy special, Outrage.Over the next hour, we'll talk about which films SHOULD have made the list and does this new list truly encompass the entirety of the true Black experience in film.We'll have all of that and more on Episode 528 of Keeping It Reel with FilmGordonThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4671407/advertisement

Today we'll be speaking on the life and death of the great director Oscar Micheaux.Born in 1884 in Metropolis, Illinois, Oscar Micheaux went on to become one of the most important figures in early African American cinema. He directed over 40 films throughout his career, many of which were groundbreaking in their portrayal of African American life and culture.Despite facing racism and discrimination throughout his life, Micheaux persevered and became a pioneer of independent cinema. He founded his own film company, the Micheaux Film Corporation, and used it to create films that were often rejected by mainstream Hollywood studios. His films tackled controversial topics such as interracial relationships and lynching, and showcased the lives and struggles of African Americans in a way that had never been seen before.In this podcast episode, we'll explore Micheaux's early life, his journey to becoming a filmmaker, and the impact his films had on African American representation in cinema. We'll also discuss the challenges he faced as an independent filmmaker and the legacy he left behind.Sadly, Micheaux passed away in 1951, but his influence on cinema can still be felt today. Join us as we dive into the life and death of this great director and celebrate his contributions to the art of filmmaking.Key Talking Points of the Episode: [00:53] Who is Oscar Micheaux and what role did he plan in the black history? [02:17] Oscar working as a homesteader in South Dakota [05:25] Understanding the Jim Crow Era [07:29] How Micheaux  designed his films to reach beyond the limitations [10:23] Oscar's return after a long pause [12:01] Oscar's impact on society  Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Today we highlight black history around world African history because it's one and the same so here are so honorable mentions, Oscar Micheaux , Jean Ambrose Tuskegee Airman Edward DeJesus and others

Black films have always had a long road to hoe and especially the first ones. Oscar Micheaux's movies were no exception but they were necessary to show the true essence of life as an African-American --- Send in a voice message: https://anchor.fm/heyevette/message

It is our first episode on the life and work of the revolutionary artist, Melvin Van Peebles... only Mr. Van Peebles will not be appearing. In order to understand the themes, imagery and messages within his films, we are going to tell a story of African American representation in American drama. We'll meet a Caribbean immigrant who founds the first black owned theatre in the U.S., a gangly white actor who made one of the most dangerous pieces of art in human history, a lower Manhattan wunderkind who would come to be known as 'King of all Dancers' and of course, the South Dakota Homesteader turned father of African American independent cinema, Oscar Micheaux!Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources:‘White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour' by Marvin McAllister'The African Grove Theatre and Company' by Jonathan Dewberry‘Stephen C. Foster and Negro Minstrelsy' by Robert P. Nevin‘Select Committee on the Slave Trade. Evidence by Thomas Trotter'‘Slave Culture: Nationalist Theory and the Foundations of Black America' by Sterling Stuckey‘Black Magic a Pictorial History of Black Entertainers in America' by Langston Hughes‘American Notes' by Charles Dickens‘Red Summer' by Cameron McWhirter Hosted on Acast. See acast.com/privacy for more information.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Artwaves Wil Haygood, author of Colorization: One Hundred Years of Black Films in a White World, in conversation with host Richard Wolinsky. Colorization looks at the history of Hollywood from the perspective of the African American community, from protests over the showing of the racist silent film, “Birth of a Nation,” to the first great Black director, Oscar Micheaux, through the forties and the rise of black actors such as Sidney Poitier, Harry Belafonte and Dorothy Dandridge, to so-called Blaxploitation films and up to the present, all the while putting the films in context of the larger society and race in America. In the interview, he discusses the origins of the book, the careers of some of the Black pioneers in Hollywood film, and the way television and streaming has changed the race equation in our culture. Wil Haygood is a journalist who spent several years with the Washington Post before writing a series of biographies. He is also known for an essay in the Post which became the source for the successful film, Lee Daniels' The Butler. Complete 42-minute interview.   Bookwaves Second of two parts: Dennis Lim, film critic and Artistic Director of the New York Film Festival and author of “Tale of Cinema,” an examination of the work of South Korean film-maker Hong Sang-soo, in conversation with host Richard Wolinsky. A retrospective of the works of Hong Sang-soo, selected by Dennis Lim runs February 3 -18 at BAMPFA in Berkeley. Dennis Lim was previously the the director of programming of the Film Society of Lincoln Center. Before that he was film editor at the Village Voice, and has taught at Harvard University and NYU. His first book, David Lynch: The Man from Another Place, was published in 2015. This second part of the interview focuses on Dennis Lim's own career, his view of movies today, and a brief discussion about the work of David Lynch. Complete Interview.   Review of “In Every Generation” at TheatreWorks Mountain View Center for the Performing Arts through February 12, 2023.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. All times Pacific Standard Time. Book Stores Bay Area Book Festival  Highlights from last year's Festival, May 7-8, 2022 and upcoming calendar. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.   Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Hanif Abudurraqib, February 23, 7 pm. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. Pueblo Revolt by Dillon Chitto, February 2-12, ARC (Arts Research Center, UC Berkeley); February 15-26, Art Works Downtown, San Rafael. American Conservatory Theatre  The Headlandsl by Christopher Chen, Toni Rembe Theater.February 9 – March 5. Aurora Theatre Paradise Blue by Dominique Morisseau, Opens January 27, 2023, streaming February 21-26. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Clydes, by Lynn Nottage, January 20 – February 28, Peets Theatre. Boxcar Theatre. See website for events. Brava Theatre Center: See website for events. BroadwaySF: Dear Evan Hanson, January 24 – February 19, Orpheum; Mean Girls, January 31 – February 26, Golden Gate. Bill Maher, live on stage, March 12, 2023. Broadway San Jose: Bluey's Big Play by Joe Brumm, February 3 -5, 2023. California Shakespeare Theatre (Cal Shakes). 2023 Season to be announced. Center Rep: Red Bike, by Carldad Svich, directed by Jeffrey Lo. February  4 – 25, 2023. Central Works Mondragola by Gary Graves, March 18 – April 16, 2023. Cinnabar Theatre. Daddy Long Legs,  streaming January 27-29. The Broadway Bash fund-raiser, February 25, Doubletree Rohnert Park. Contra Costa Civic Theatre To Master the Art by William Brown and Doug Frew, April 21 – May 21, 2023. Curran Theater: Into The Woods, direct from Broadway, June 20-25, 2023. Custom Made Theatre. Tiny Fires by Aimee Suzara, February 3 – 36, 2023. 42nd Street Moon. Anything Goes, February 23 – March 12, Gateway Theatre. Golden Thread  See website for upcoming productions. Landmark Musical Theater. See website for upcoming shows. Lorraine Hansberry Theatre. Next show to be announced. Magic Theatre. The Travelers by Luis Alfaro, February 15 – March 5, 2023. See website for other theatre events at the Magic. Marin Theatre Company Justice: A New Musical by Lauren Gunderson, February 16 – March 12, 2023. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) Getting There, Jan. 20 – Feb. 26. Tick, Tick … Boom postponed. Oakland Theater Project.  Exodus to Eden by Michael Socrates Moran, in theater, February 3-26, 2023. Pear Theater. In Repertory, Frankenstein by Mary Shelley, a new physical adaptation, Dontrell Who Kissed The Sea by Nathan Alan Davis, February 3-26. 2023. PianoFight. Calendar of shows. Note: PianoFight in San Francisco and Oakland permanently closes on March 18, 2023. PlayGround. See website for upcoming shows. Presidio Theatre. See website for upcoming productions Ray of Light: Spring Awakening In Concert, June 8-10, Victoria Theatre. Cruel Intentions: The '90s Musical, September 8 – October 1, Victoria Theatre. The Rocky Horror Show, Oasis Nightclub, October 6  – 31. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse.  Cashed Out by Claude Jackson, Jr., January 28 to February 25, 2023. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: Satchmo at the Waldorf by Terry Teachout, February 1 – 2, 2023. Shotgun Players. Natasha, Pierre & the Great Comet of 1812 by Dave Malloy. Extended to February 25, 2023. Siren by Lisa Villamil, staged reading, on demand through February 15, 2023. South Bay Musical Theatre: The Spitfire Grill, January 28-February 18, 2023. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  A Guide for the Homesick by Ken Urban, February 23 – March 19. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. Free staged reading: Apologies to Lorraine Hansberry (You Too August Wilson) by Rachel Lynett, February 7, 7 pm. TheatreWorks Silicon Valley. In Every Generation, by Ali Viterbi, January 18 – February 12, Mountain View Center for the Arts. Word for Word.  See schedule for  live and streaming works. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Playbill List of Streaming Theatre: Updated weekly, this is probably the best list you'll find of national and international streaming plays and musicals. Each week has its own webpage, so scroll down. National Theatrical Streaming: Upcoming plays from around the country. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org             The post Bookwaves/Artwaves – February 2, 2023: Wil Haygood – Dennis Lim appeared first on KPFA.

On this episode Chicago based musician, producer, composer, photographer, and educator, Alvin Cobb Jr. joins us to talk about his new score for Oscar Micheaux's 1919 film Within Our Gates. Cobb will be performing the score with his trio at FilmScene on January 19. We also briefly touch on a few other events happening in the coming weeks.

Today's History Story: She Refused To Play Their Racist Game The first great Black filmmaker Oscar Micheaux inspired the 70s revolution of urban dramas and comedies that served as the launchpad for the gritty hip-hop action pieces and soulful family romances of the 80s and 90s. Today, the Black experience is the face of billion-dollar movie franchises and multiple award-winning and groundbreaking series. Black people all around the globe are claiming the rights to our culture and our heritage and streaming our stories across the planet. Is this a Black Renaissance, or is it just dues being paid? Our guest, Maori Holmes, has thoughts on that and more. Maori Holmes is the founder and creative director of the Black Star Film Festival. BlackStar creates the spaces and resources needed to uplift the work of Black artists outside the confines of genre. They elevate artists who are overlooked, invisibilized, or misunderstood and celebrate the broad spectrum of aesthetics, storytelling, and experiences that they bring. _________________________ Black History Year (BHY) is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school and explore pathways to liberation with people who are leading the way. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. The BHY production team includes Tareq Alani, Brooke Brown, Tasha Taylor, and Lilly Workneh. Our producers are Cydney Smith, Len Webb for PushBlack, and Ronald Younger, who also edits the show. Black History Year's executive producers are Mikel Elcessor for Limina House and Julian Walker for PushBlack. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Body and Soul (1925) / Elmer Gantry (1960) This week we're being led astray by opportunistic preachers as we put our faith in Oscar Micheaux's melodrama and hit the revival tour to repent with Burt Lancaster's traveling salesman

Oscar Micheaux was a pioneering African American filmmaker whose earliest surviving feature, Within Our Gates, grapples directly with the external and internal conflicts uniquely positioned against the Black community during the Jim Crow era of American History. For Micheaux, these struggles were contemporary, but even today, the themes and truths of his films resonate, as the historical oppression which saw the limitation of his opportunities as a filmmaker also sought to erase his legacy as a whole, were it not for the enduring efforts of his entrepreneurial ambitions. Let Micheaux's legacy be the benchmark for our endeavor here, the flagship film representing our cause to reframe the narrative of film history through the resurrection of nearly lost works, in the same way Micheaux has stood as the paragon of early American race films, and as an icon of pioneering Black filmmakers at large.Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

In anticipation for our 100th episode, we're doing something special here at 1001 by 1. Each week, we will discuss a film celebrating an anniversary and then jump a decade later to discuss a different film celebrating an anniversary (1920, 1930, 1940, etc.). To start all the way back in 1920 to discuss a film celebrating its 100th anniversary, we were only given one option…but we are sure glad it was the only film to pick from: Oscar Micheaux's “Within Our Gates”. During the episode, Adam & Ian discuss not knowing much (if anything) about Micheaux before watching the film, the unfortunately still relevant topics being examined in the film, and the “white savior” characters in films discussing race. Also, this week Adam recommends “Hamilton” (Available on Disney+) and Ian recommends “Da 5 Bloods” (Available on Netflix).

00:00 - 6:20 - Intro 06:20 - 34:14 - Within Our Gates 34:14 - 55:23 - Malcolm in the Middle 55:23 - 1:49:00 - City Hall 1:49:00 - 2:00:59 - E-mail / Montage The reunion tour has now started proper with our first double feature. In timeline A, we discuss the landmark film from 1920 by Oscar Micheaux, Within Our Gates (06:20). we get into anachronistic scoring of silent films, writing history in lightning, and more. on a hefty edition of Malcolm in the Middle (34:14), we catch up on our pre-1920 cinema with Feuillade's Les Vampires, Griffith's A Corner in Wheat, the short films of F. Percy Smith, and Chaplin's The Immigrant. in timeline B, we discuss Frederick Wiseman's City Hall, an epic 4.5 hour portrait of how beantown operates from 2020. Shawn is the expert here so we differ to his judgement. "oh yeah, Boston". See you next time as we wrap up leg 1 of the tour with Dr. Mabuse the Gambler & Dragged Across Concrete. extendedclippodcast@gmail.com @extendedclip69

This week on the show we're in the artist's studio visiting the one and only Arthur Jafa. From his extensive work in cinema, to his video art, sculpture, and other mixed media work shown in a contemporary art context – AJ's work is often an embodiment of Black identity in America, and he is often cited with being a leader among a generation of artists creating defining a distinctly Black cinematic language. This extends as well into current projects on the more infrastructural / business side of the film industry in the form of his project Sun Haus. Visiting with AJ and hearing his story was a real treat, and it is one with many twists and turns – in our chat we trace his story all the way from growing up in Tupelo Mississippi in the 60s and 70s to today. and he takes us deeply inside the full kaleidoscope of influences, vibrations, and inspirations that he picked up along the way, and has integrated into his work as an artist and film maker: From gospel music – to James White and the Contortions, and from Oscar Micheaux to 2001 a Space Odyssey. Tune in to hear AJ's story!This episode is brought to you thanks the generous support of the Kramlich Art FoundationLinks from the conversation with Arthur Jafa> SunHaus: https://sunhaus.us/> Gladstone Gallery: https://www.gladstonegallery.com/artist/arthur-jafa/worksGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Did you know that the U.S. movie industry began along the New Jersey side of the Hudson River in the early 1900s? This town is where The Exile, the first all-Black cast "talkie" by Pioneer African-American filmmaker Oscar Micheaux at Metropolitan Studios, was shot. And where the "mother of cinema, the first female film director and movie executive Alice Guy-Blaché, opened her studio?   Nelson Page, President of the Barrymore Film Center, shares the journey of building the Barrymore Film Center located in Fort Lee, New Jersey and its mission to support the voices of independent cinema and a tribute to Fort Lee's role in the movie-making industry. Opening in October 2022, thanks to Fort Lee's Mayor Mark Sokolich and the support of the Fort Lee Film Commission and Borough Council members, the Barrymore promises to be the leading venue for filmmakers in the NJ-NYC area. It includes a 260-seat cinema and film museum.    The Barrymore Film Center was designed by renowned theater architect, the late Hugh Hardy, whose work includes the renovations of Radio City Musical Hall and the Rainbow Room in Manhattan and so many other theaters.    

African Americans couldn't seize much universal freedom as the brick-and-mortar of Jim Crow walled them off from their rights. Still, race men and women fought. Following the death of three friends, instigated by the white press, Ida B. Wells committed herself to investigating and reporting the evils of lynching across the south, starting a newspaper in Memphis, Tennessee. It wasn't long before her printing press was burned to the ground and she was forced to relocate to Chicago.  The windy city was witnessing the rise of Black Hollywood, inspiring race leaders like Wells and film producer Oscar Micheaux to harness the power of media to challenge the narratives being reinforced by racist newspaper reports and deeply problematic films like Birth of a Nation. --- Episode Artwork by Lyne Lucien. Transcripts, resources, list of voice talent and more available at seizingfreedom.com. --- This episode of Seizing Freedom is supported by Home. Made., a podcast that explores the meaning of home and what it can teach us about ourselves and each other. Listen to episodes of Home. Made. at https://link.chtbl.com/homemade?sid=podcast.seizingfreedom

Sylvia Landry is adopted by Black sharecroppers. She is mixed-race. Her new parents love her as their own. Despite the rigors of sharecropping, they raise her well. Sylvia becomes a schoolteacher. She travels to Boston to raise money for a new school and on her trip, she is hit by a car. The white woman driving is overcome with guilt and writes a $50,000 check to support Sylvia's school. Her father is wary of the charity and tired of the struggle. One day he has enough and confronts their white landlord over money. A fight ensues. The landlord is shot by another white man, but Sylvia's adoptive father is accused and lynched with her adoptive mother. In her despair, Sylvia is cornered and narrowly escapes attempted raped by the landowner's brother. She discovers that the attacker is her biological father.  This is the plot of a silent film by Oscar Micheaux in 1920.  It was a smash hit.  A brilliant Black family. Self-sufficient. Serving their community. Rejecting handouts. Fighting back. Loving hard. And suffering under the terror of white supremacy.   It was a brave answer to The Birth of a Nation, the first Hollywood blockbuster, which served as Klan propaganda and stoked fear of Black liberation.  Oscar Micheaux was unafraid. He made race films at the height of lynching in America.  He was an author… Director… Producer… …of 44 films.  The most successful Black filmmaker of the first half of the 20th century. Join us as we learn how he rallied the resources and crew to do it. 

Singer/Songwriter Doug Cash is a multi-talented singer, songwriter, musician, arranger, producer, and performer. To Play His Music On YOUR Podcast Visit https://brucechamoffpodcast.com/mp3s/doug-cash/ and download any of his MP3s featured on this show. About Doug Cash: Doug Cash is the Oscar Micheaux of rock & soul. Doug Cash is either old school's revenge or old school's last gasp. Between 3 of his social platforms Doug has over 2 million plays and streams. Heavily influenced by Sly & the Family Stone, The Beatles, James Brown, Led Zeppelin, Weather Report, Joni Mitchell, Stevie Wonder, Paul Simon and Yes. Raised on Big band ( Basie, Ellington, Miller, Goodman) and bebop ( Charlie Parker, Dizzy Gillespie,Thelonious Monk, Cannonball Adderley ) Doug was groovin' with the muse before he could walk. From Louis Armstrong to Kate Bush, his tastes and influences are wide and varied. Doug has spent over 30 yrs on stage throughout Northern and Southern California. He also has spent multiple decades in the studio building his publishing catalog in multiple genres. Pop, rock, country, blues, soul, dance, hip hop, metal, electronica, orchestral and reggae. Doug's music can be found on Spotify, Youtube , Amazon, Apple, Tik Tok, Deezer, Reverbnation and all digital outlets. Simply Google Doug Cash. The music by Doug Cash is currently promoted across the United States, South America, Europe, Russia and China. You can listen to his music on Spotify at https://open.spotify.com/artist/7LzzsY90jCiFvE3wES402i and also download his music on our podsafe music directory at https://nycpodcastnetwork.com/podsafe-music-and-clips/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/successful-podcaster/message Support this podcast: https://podcasters.spotify.com/pod/show/successful-podcaster/support

Katie tells Rachel about Oscar Micheaux, one of the most prolific filmmakers of all-black films from 1918 to 1950. Not only was he a filmmaker, but he was also a railroad worker, farmer, frontiersmen on the South Dakota prairie, novelist, director, and so much more.