This insightful study places African American women's stardom in historical and industrial contexts by examining the star personae of five African American women: Dorothy Dandridge, Pam Grier, Whoopi Goldberg, Oprah Winfrey, and Halle Berry. Interpreting each woman's celebrity as predicated on a brand of charismatic authority, Mia Mask shows how these female stars have ultimately complicated the conventional discursive practices through which blackness and womanhood have been represented in commercial cinema, independent film, and network television. Mask examines the function of these stars in seminal yet underanalyzed films. She considers Dandridge's status as a sexual commodity in films such as Tamango, revealing the contradictory discourses regarding race and sexuality in segregation-era American culture. Grier's feminist-camp performances in sexploitation pictures Women in Cages and The Big Doll House and her subsequent blaxploitation vehicles Coffy and Foxy Brown highlight a similar tension between representing African American women as both objectified stereotypes and powerful, self-defining icons. Mask reads Goldberg's transforming habits in Sister Act and The Associate as representative of her unruly comedic routines, while Winfrey's daily television performance as self-made, self-help guru echoes Horatio Alger narratives of success. Finally, Mask analyzes Berry's meteoric success by acknowledging the ways in which Dandridge's career made Berry's possible.

With the Civil Rights movement of the sixties fresh in their perspective, movie producers of the early 1970s began to make films aimed toward the underserved African American audience. Over the next five years or so, a number of cheaply made, so-called blaxploitation movies featured African American actresses in roles which broke traditional molds. Typically long on flash and violence but lacking in character depth and development, this genre nonetheless did a great deal toward redefining the perception of African American actresses, breaking traditional African American female stereotypes and laying the groundwork for later feminine action heroines. This critical study examines the ways in which the blaxploitation heroines of the early 1970s reshaped the presentation of African American actresses on screen and, to a certain degree, the perception of African American females in general. It discusses the social, political and cultural context in which blaxploitation films emerged. The work focuses on four African American actresses--Pam Grier, Tamara Dobson, Teresa Graves and Jeanne Belle--providing critical and audience response to their films as well as insight into the perspectives of the actresses themselves. The eventual demise of the blaxploitation genre due to formulaic plots and lack of character development is also discussed. Finally, the work addresses the mainstreaming of the action heroine in general and a recent resurgence of interest in black action movies. Relevant film stills and a selected filmography including cast list and plot synopsis are also included. Instructors considering this book for use in a course may request an examination copy here.

This classic work of scholarship and empathy tells the story of the self-creation of the African-American people. It assesses the full impact of the Middle Passage -- "the most traumatizing mass human migration in modern history" -- and of North American slavery both on the enslaved and on those who enslaved them. It explores the ways in which a nominally free society perverted its own freedoms and denied the fact that an inhuman institution lies at the heart of the American experience. The authority and eloquence of this work make it essential reading for all who want to understand the American past and present.

Hattie McDaniel is best known for her performance as Mammy, the sassy foil to Scarlett O'Hara in Gone with the Wind. Though the role called for yet another wide–grinned, subservient black domestic, McDaniel transformed her character into one who was loyal yet subversive, devoted yet bossy. Her powerful performance would win her the Oscar for Best Supporting Actress and catapult the hopes of Black Hollywood that the entertainment industry ––after decades of stereotypical characters–– was finally ready to write more multidimensional, fully realized roles for blacks. But racism was so entrenched in Hollywood that despite pleas by organizations such as the NAACP and SAG ––and the very examples that Black service men were setting as they fought against Hitler in WWII–– roles for blacks continued to denigrate the African American experience. So rather than see her stature increase in Hollywood, as did other Oscar–winning actresses, Hattie McDaniel, continued to play servants. And rather than see her popularity increase, her audience turned against her as an increasingly politicized black community criticized her and her peers for accepting degrading roles. "I'd rather play a maid then be a maid," Hattie McDaniel answered her critics but her flip response belied a woman who was herself emotionally conflicted about the roles she accepted but who tried to imbue each Mammy character with dignity and nuance.

Black women filmmakers not only deserve an audience, Gwendolyn Audrey Foster asserts, but it is also imperative that their voices be heard as they struggle against Hollywood’s constructions of spectatorship, ownership, and the creative and distribution aspects of filmmaking. Foster provides a voice for Black and Asian women in the first detailed examination of the works of six contemporary Black and Asian women filmmakers. She also includes a detailed introduction and a chapter entitled "Other Voices," documenting the work of other Black and Asian filmmakers. Foster analyzes the key films of Zeinabu irene Davis, "one of a growing number of independent Black women filmmakers who are actively constructing [in the words of bell hooks] ‘an oppositional gaze’"; British filmmaker Ngozi Onwurah and Julie Dash, two filmmakers working with time and space; Pratibha Parmar, a Kenyan/Indian-born British Black filmmaker concerned with issues of representation, identity; cultural displacement, lesbianism, and racial identity; Trinh T. Minh-ha, a Vietnamese-born artist who revolutionized documentary filmmaking by displacing the "voyeuristic gaze of the ethnographic documentary filmmaker"; and Mira Nair, a Black Indian woman who concentrates on interracial identity.

The extraordinary life story of America’s most celebrated African-American actress, Cicely Tyson is always worthy to remember. Cicely Tyson never ceased to flabbergast the audience and never aimed to break their trust. Till her death she never quitted acting. Her passion gave her tremendous energy to defy the hurdles of criticism. Cicely Tyson’s exquisite talent and urge to make a change in her life ended up changing the mindset of the American society. 1980s a time period when white males dominated the Hollywood industry it wasn’t easy for a Black woman to get a breakthrough in her career. Determination and mental strength – inherited from the African race aided Cicely Tyson to reach her destiny.