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Editorial Reviews
From Publishers Weekly
According to the publisher, this book caps George's trilogy on black popular culture, after Elevating the Game, on basketball, and The Death of Rhythm and Blues, on music. But even the author acknowledges that Blackface is "more a memoir than a critique," and although his observations are often worthy and his style entertaining, his take is too scattershot to do his subject justice. He begins with memories of his Brooklyn youth, offering pointed reflections on Sidney Poitier and The Godfather. George became a music journalist and wound up in Brooklyn's Fort Greene, where he met Spike Lee and soon segued into the burgeoning 1980s world of black film as a writer and producer. He devotes a chapter to comments on early 1990s black films, from New Jack City to Daughters of the Dust, then a long chapter to the making of the "rapumentary" CB4, which he produced. George sums up by suggesting that innovations-through independent distribution or a "direct-to-home-video market"-are needed to get more black films to their targeted audience. Interspersed amid the chapters is a lengthy, annotated time line on black film. Photos not seen by PW.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Critic George (Buppies, B-Boys, Baps, & Bohos, LJ 1/93) presents a lively history of the African American film scene. [Reviewed on p. 78.]
Copyright 1994 Reed Business Information, Inc.
See all Editorial Reviews
According to the publisher, this book caps George's trilogy on black popular culture, after Elevating the Game, on basketball, and The Death of Rhythm and Blues, on music. But even the author acknowledges that Blackface is "more a memoir than a critique," and although his observations are often worthy and his style entertaining, his take is too scattershot to do his subject justice. He begins with memories of his Brooklyn youth, offering pointed reflections on Sidney Poitier and The Godfather. George became a music journalist and wound up in Brooklyn's Fort Greene, where he met Spike Lee and soon segued into the burgeoning 1980s world of black film as a writer and producer. He devotes a chapter to comments on early 1990s black films, from New Jack City to Daughters of the Dust, then a long chapter to the making of the "rapumentary" CB4, which he produced. George sums up by suggesting that innovations-through independent distribution or a "direct-to-home-video market"-are needed to get more black films to their targeted audience. Interspersed amid the chapters is a lengthy, annotated time line on black film. Photos not seen by PW.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Critic George (Buppies, B-Boys, Baps, & Bohos, LJ 1/93) presents a lively history of the African American film scene. [Reviewed on p. 78.]
Copyright 1994 Reed Business Information, Inc.
See all Editorial Reviews
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9
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- African American Viewers and the Black Situation Comedy: Situating Racial Humor (Studies in African American History and Culture) by R Means Coleman on page 138
- Life and Def: Sex, Drugs, Money, + God by Russell Simmons in Front Matter
- Representing Blackness: Issues in Film and Video (Rutgers Depth of Field Series) by Valerie Smith in Back Matter
- Shots in the Mirror: Crime Films and Society by Nicole Rafter in Back Matter
- Life and Def : Sex, Drugs, Money, and God by Russell Simmons in Front Matter
See all 9 books citing this book
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