Reading Questions for Week Twelve
Post your reading questions for week twelve’s reading:
Mary Carbine’s “The Finest Outside the Loop: Motion Picture Exhibition in Chicago’s Black Metropolis”
Please, post them in the comment section for this entry.
238 Responses to “Reading Questions for Week Twelve”
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March 29th, 2007 at 9:47 am
I really like Carbine’s notion of African American audiences determining or “own”ing the “means of production” of the exhibition context through the live Jazz accompaniment to silent films. Carbine speculates a bit about this in her conclusion, but I’m wondering to what extent the musical accompaniment intentionally undermined the narrative. Is it possible that African American audiences favored Hollywood film’s because they were better suited for that kind of transgressive and interactive play?
March 29th, 2007 at 11:18 am
I found Mary Carbine’s article on early exhibition and spectatorship very interesting, particularly the way class played as important a role even for early African American audiences. What was especially interesting was the general commercial failure of African American productions, as even African American audiences preferred the “glamour” of early Hollywood. Paired with David Gerstner’s article, who quotes bell hooks and Jane Gaines stressing the “realism” of black cinema pioneer Oscar Micheaux, one wonders if audiences were explicitly rejecting that dramatic “realism”. It is interesting that black musical forms like jazz and blues, however, were still very popular despite its class issues, and was often used in the cinemas as a soundtrack to the Hollywood fare in these black cinemas. One wonders if as hooks writes, “Micheaux saw the black body as a site where nakedness, eroticism was not considered a shameful reality to be hidden”, despite sharing a the sexuality of jazz and blues, Micheaux’s work was rejected because it was seen as being “good for you”.
March 31st, 2007 at 1:48 pm
Watching Micheaux’s film Within Our Gates in class I began wondering what the title refers to in the film…does anyone know? I feel that his film was at the same time different from other productions of the time but also very similiar for the story line, and character stereotypes, genres (melodrama), etc. The main difference being his reversal of the coloured threat, here the white male attempts to rape an inter-racial woman. Yet all races are seen as posessing both good and bad behaviours/intentions. Everyone is human and everyone has the potential to be good or bad. If anything one could conclude that the inter-racial woman was the model citizen, the one to aspire to be because of her strength of survival. The opposite of Griffith’s Bir th of a Nation, Micheaux doesnt show the purge or ultimate domination and segregation of races but a common understanding.
April 3rd, 2007 at 9:16 pm
This is a bit of a response to Jen and Michael’s respective posts. Well perhaps a parallel thought.
I wonder if the use of Jazz could be correlated back to the articles on the public sphere in which the use of music and theatrical improvisation and involvement created an atmosphere that moved against the accommodation of systematic private voyeurism. Given that jazz is a musical form based on improvisation, could the argument be made that it contributed to public awareness as a viewer and promoted a proletarian public sphere?
April 10th, 2007 at 2:57 pm
After reading the articles I was also intrigued by the Jazz link, specially in terms of the way it was improvised during Hollywood films, and viewed as being too low brow by some African American detractors who preferred classical music. In terms of the public sphere, the article made me think about the absorption of African American performance styles by the white mainstream. After all the first ever Hollywood Sound Film was “The Jazz Singer”. From this perspective, black theatrical distribution may have functioned as a counter culture that the white mainstream was eventually draw from in order to market their films to broader audiences.
April 11th, 2007 at 11:56 am
In response to Lee’s question about jazz, it would largely be determined by the time period you’ve chosen to look at. While initially jazz was heavily improvised and encouraged personal flare and audience participation, later forms would move further away from the notion of community and inclusion to one of standardization and strict codes. This gradual move solidified a player/listener relationship.
April 25th, 2007 at 12:14 am
Oscar Micheaux’s Within Our Gates makes revolutionary use of narratological devices – principally, the unreliable narrator – in its complex flashback-laden narrative. When we see the preacher, Old Ned, “selling his race” and reflecting on it, is this sequence being told by the rich white southern aristocrat, by the heroine, or is the narrator Old Ned himself? If so, is his ‘prancing’ manipulation of the black congregation a self-defacing exaggeration of gesture? Is his final statement of self-condemnation an accurate portrayal of Old Ned, or is it how he might imagine his conscience (a not altogether sincere guilt)? In some ways, this would predate the most visible American usage of unreliable narrator in films (say Mark Robson’s 1943 The Ghost Ship), and with a rich lattice of unreliable perspectives (Efram, Sylvia, Detective Gentry) and dream sequences (Alma’s dream of Larry’s card-game shootout that may or may not have happened), the film has some direct formal likeness to Bunuel’s Discreet Charm of the Bourgeoisie.
In this talk of Jazz, I have been reminded of a 1929 soundie starring Duke Ellington - ‘Black and Tan’ - which opens with a pair of dark-skinned black movers bringing a piano to the upscale apartment of light-skinned black Duke Ellington and his light-skinned woman companion - both sophisticates to the movers’ loutish ‘Sambos’. This lean towards pigment ‘fairness’ is even the work of Micheaux - with Sylvia, for instance, and it continues in Body and Soul, where the blackest presence on screen, Paul Robeson, is chief antagonist. What role does skin pigmentation play in silent and early talkie black cinema?
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