Audisee® eBooks with Audio combine professional narration and sentence highlighting for an engaging read aloud experience! The entertainment industry includes TV shows and movies, plays, comedy, and more. New people are always ready to show off their talent. Black entertainers such as Queen Latifah, Donald Glover, and Zendaya transform the industry and move people's emotions. They deliver performances and create works that inspire audiences in every generation. Discover more Black entertainers and learn about their many achievements and how they continue to impact entertainment.

The entertainment industry includes TV shows and movies, plays, comedy, and more. New people are always ready to show off their talent. Black entertainers such as Queen Latifah, Donald Glover, and Zendaya transform the industry and move people's emotions. They deliver performances and create works that inspire audiences in every generation. Discover more Black entertainers and learn about their many achievements and how they continue to impact entertainment.

At the 2007 Academy Awards(R) ceremony, an unprecedented number of Black performers received acting nominations, and two of the statues awarded that evening went to Forest Whitaker and Jennifer Hudson. Indeed, since 2000, more African Americans have received Oscars than in the previous century. While the last few years have seen more and more Black performers receive acknowledgment by the Academy, it hasn't always been that way. African Americans and the Oscar(R) Decades of Struggle and Achievement highlights the advancements Black performers have made on the silver screen and how those performances were honored by the Academy. In the Academy's first 40 years, less than ten African Americans were cited for their work on screen and only two, Hattie McDaniel and Sidney Poitier, received competitive awards before the 1980s. This book profiles all the nominees and recipients of the coveted award in the acting, writing, and directing categories, beginning with the first: McDaniel's Best Supporting Actress win for her role in Gone with the Wind (1939). Each entry, organized chronologically and by name, provides valuable information about how the role or film was viewed during its time and also places it in historical context by drawing connections to other related awards or events in film history. In the introduction, Mapp's overview of the nomination process helps explain the historically low percentage of African Americans who have been nominated or received the honor. Also, appendixes provide lists of non-acting/directing nominees and winners, overlooked performances, and performers of nominated songs. Highlighting the achievements of Sidney Poitier, Whoopi Goldberg, Halle Berry, Morgan Freeman, Spike Lee, Jamie Foxx, Denzel Washington and others, this volume provides an enlightening history of the Black experience in Hollywood and will fascinate fans of all ages.

Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/

While much has been written about black triumphs in boxing, baseball, and other sports, little has been said of similar accomplishments in tennis. In this book, the first is the first volume dedicated to that subject, Sundiata Djata more than cites facts and figures, he explores obstacles to such performance such as the discrimination that kept blacks out of pro tennis for decades. He examines the role that this white sport traditionally played in the black community. And he provides keen insights into the politics of professional sports and the challenges faced by today's black players. Drawing on original and published interviews, life writings, and newspaper articles, the author offers an in-depth look at black participation in tennis: from the first courts in Tuskegee in 1880, to players Reginald Weir and Gerald Norman, Jr., who challenged racism in the U. S. Lawn Tennis Association in the 1920s; from Harlem teen Bob Ryland's historic match with two white women in 1944 to the achievements of acclaimed later stars like Althea Gibson, Arthur Ashe, Yannick Noah, and Venus and Serena Williams. Thoroughly researched and comprehensive in scope, the work's eventual two volumes will cover identity and black tennis in aboriginal Australia, North and South Africa, the Caribbean and the Americas. it is an ideal read for tennis players, sports historians, readers of black history and/or black sports figures, and all who are interested in the sport.

The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

White people are not literally or symbolically white, yet they are called white. What does this mean? In Western media, whites take up the position of ordinariness, not a particular race, just the human race. How is this achieved? White takes these questions as starting points for an examination of the representation of whiteness by whites in Western visual culture. Dyer places this representation within the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he shows the construction of whiteness in the technology of photography and film as part of a wider 'culture of light', discusses heroic white masculinity in muscle-man action cinema, from Tarzan and Hercules to Conan and Rambo; analyses the stifling role of white women in end-of-empire fictions like The Jewel in the Crown and traces the associations of whiteness with death in Falling Down, horror movies and cult dystopian films such as Blade Runner and the Aliens trilogy.