With the release of the movie "Birth of a Nation". W. In 1915, Griffiths exacerbated systemic inequality in American society; Deeply racist propaganda, most of which has manifested itself in the hatred that has still plagued the United States since the post-Civil War reconstruction period in the late 19th century. The film, which became the first film to be screened at the White House, was legitimized by then-President Woodrow Wilson by watching it and chanting the film: "It's like making History with lightning. "Write, my only regret is that all of this is terribly true." Always maintain its friendship with the film's racist ideals, regardless of the damage it has done to the body of History just by its release. By rising up against such organized hatred and disgust, Black cinema at the same time embarked on a path of success that was a reflection of the bold civic movements that were emerging and radiating to American society at the same time.
By shaping the most basic components of its identity, cinema could not flourish until the beginning of the twentieth century, and it was the beginning of a new century with which filmmakers had the potential to innovate. They saw the new in technology with their own eyes. Along with the likes of Georges Millies, who transformed cinema beyond the borders of the United States, Black filmmakers also began to show themselves on the big screen, with simple Booker T. documentaries. Washington is one of the first examples of Black cinematographers appearing on the silver screen. It was the name of the Taskie Institute, and Washington itself helped make several short films to promote the institute in some way. With "A Journey to Tuskigi" in 1909 and four years later, followed by "A Day in Tuskigi", these films laid the foundation for Black cinema to flourish later, even though these small documentaries had little effect on later pioneers such as Oscar. In 1919, four years after the release of "Birth of a Nation", writer and filmmaker Oscar Mishu entered the film industry with his first film, "Rural", the first feature film by a Black filmmaker. . With a highly analytical mind, Misho challenged the structure and nature of contemporary Hollywood, launching a lively opposition to mainstream cinema, and "Inside Our Gates" in 1920 as a direct response to Griffiths' infamous "Birth of a Nation." presented. Comparing the life experiences of Black people in rural areas with those living in cities, this film depicts the suffering of such people in modern America and brings their misery before the eyes of the white population of the country and forces them to pay attention to it.
These films came under the umbrella of "racial films," a classification used for films released in cinemas between 1915 and 1950 that targeted Black audiences made by Black filmmakers on a limited budget. Been. Emphasizing the messages of civil rights, led by Misho, these works helped to establish the foundation of Black cinema in the United States and to present a vivid collection of films that spoke of the experiences of Black people at the time. With 500 films made over a period of almost four decades, racial films became the birthplace of similar films and other breakthroughs that emerged in later years.p id =" caption-attachment-1080222 "class =" wp-caption-text "> Hattie McDonnell in 1939" Gone With the Wind "
Efforts to establish equality between Black and white filmmakers It continued into the mid-twentieth century; With Spencer Williams directing the fictional drama "Blood of Christ" in 1941, while William D. Alexander had made a name for himself. The filmmakers were joined by legendary trumpeter Louis Armstrong, who starred in 20 feature films from the 1930s to the 1960s, including "The Birth of the Blues," "A Cabin in the Sky," and "New Orleans." In addition to the legendary and enduring characters, actor and singer Bill Robinson and Lena Horn, along with the remarkable success of Hattie McDonnell, who became the first Black person to win an Academy Award for her supporting role in "Gone with the Wind" in 1939. Other examples of successful Black filmmakers are in the early years of American cinema.
The turning point of the 1950s
It remained static, with white filmmakers retaining power and influence while social tendencies were changing, and with the rise of civil rights movements in the 1950s, the film industry followed suit.
As leaders of civil movements such as Martin Luther King and Malcolm X sought to change public perceptions of blacks across the United States, the vast majority of the population could see firsthand that What cruelty and cruelty white and Black police officers do to Black people . With the signing of the Civil Rights Bill in 1964 by then-President Lyndon Johnson, the late Sydney Poitier movie star became the first Black actor to win an Academy Award for Best Actor; To play Ralph Nelson's "Farm Lilies".
Sydney Poitier in the 1963 film" Farm Lilies "
A dramatic political and cultural change encouraged a large number of Black producers and actors to enter the film industry as filmmakers and actors; With William Graves becoming one of the most important behind-the-scenes executives, the late Poitier became even more successful, becoming a star both commercially and critically. He became the first Black movie star to appear in some of the key civil rights films that highlighted the importance of social equality, starring in films such as In the Heat of the Night and Guess What Is anyone coming to dinner? Racism has long been eradicated in the country, the success of decades ago has allowed Black producers to have a lot of confidence. What emerged from the positives of this period was the Black commercial cinema genre, which portrayed violent, powerful, and unforgivably nervous characters in response to decades of systematic racism in the film industry. Often based on Black stereotypes, the films followed characters who lived in urban spaces and tried to overcome "that man," a term used to describe white lawmakers who opposed them. While these films were opposed by those who claimed that such films did little to promote the person-to-person image of modern Black society, they were also known for empowering heroes and such stories by using Sol and funk music in the soundtrack of these films to make the quality of the culture of the Black community more prevalent than before.
Melvin van Peebles's 1971 film became a representative of the Black commercial cinema genre
Current director Melvin van Peibbles became the pioneer of the genre with his 1971 film, and this The work became an influential film, along with the action film "Shaft" by Gordon Park, starring Richard Roundtree, and was released in the same year. Films such as the Evan Dixon thriller "The Troubled Man" and the 1973 horror film "Ganja and Hess" by Bill Gann achieved similar success, with Pam Greer becoming the first female action actress to become a symbol of the era.
The Los Angeles Social Movement
In direct response to the worthless pleasures of the Black commercial cinema movement in the 1970s, the Los Angeles Social Movement followed suit in the following decades, with People like Spike Lee, Julie Dash, and Charles Burnett, who were at the helm of the movement with feature films, challenged the rules of Hollywood and questioned social structure. With a variety of soundtracks, impressive costume and fashion choices, and free-spirited characters, these films were both vibrant and innovative. Educated from the 1960s to the 1980s, the work produced by this movement is considered a landmark in contemporary cinema and tells the stories of working-class personalities who are powerful forces for change. Burnett's "Sheep Killer" in 1978, along with "The Right Thing Spike Lee in 1989 and Julie Dash's "Dust Girls", made two years after Spike Lee, became influential titles in the History of cinema.
Committed to telling authentic, authentic stories from the Black world, these films paved the way for works such as New York City, a popular crime drama by Mario van Peebles, son of Melvin van Peebles. Such films, while entertaining, colorful, and glazed, also provided a solid look at the contemporary experiences of blacks, often offering moral lessons to troubled, struggling characters.
with movies like" Do the Right Thing "in which Spike Lee himself starred , The path of progress was paved for Black cinematographers
"Honor" by Ernest R. Dickerson followed suit with his release in 1992, starring the growing artist and rapper Tupac Shakur in a major role, trying to engage with the younger generation of blacks. However, it was a year before the release of "Boys in the Neighborhood" that had the biggest cultural impact, and the director of the film, John Singleton, sent a powerful message with an exciting drama starring Ice Cube, Lawrence Fishburne, Cuba Gooding Jr. and Regina King. In addition to taking such influences from the Los Angeles social movement, Black cinema saw major innovations in the 1990s, most notably female directors, with films such as the romantic comedy "Watermelon Woman" by Cheryl Donnie and drama. Casey Lemons's "Eve River" which set the stage for a variety of stories from different genres with different visual styles.
While Black filmmakers and actors are still vying for the attention of Hollywood executives, certainly in the 21st century, and positive steps have been taken, with directors such as Eva Dorney, Steve McQueen, Ryan Kogler, Barry Jenkins, Jordan Peel and Nia Daek. Which helped bring a new truth to the Black producers behind the camera.
These successes have been achieved with the help of people like Tyler Perry; Someone who, with his particularly witty nature, was able to become extremely popular and prove himself commercially while Spike Lee continues to try to satisfy the circle of critics with things that are becoming more and more challenging. Black cinema, often accompanied by political effort, has sought to bring about a real social transformation, following the emergence of the "Black Lives Matter" movement in 2013 following the tragic death of Trion Martin.
A look at the 2016 film "Moonlight" starring Mahershala Ali, which won the Academy Award for Best Picture and also won the Academy Award for Best Supporting Actor
As cinema progresses, classic cinematic structures are re-evaluated with films such as Melissa Metsuks' "Queen and Slim" showing the black-skinned impact of a enduring American road film, while "Candyman" Nia Dacasta subjugates the Essler genre of fear into a new situation. Puts the focus on the Black hero once again in the spotlight. Black filmmakers, who continue to work in every corner of the world cinema genre and industry, look to the past and with firm steps in the future, with confidence and hope, enter the field full of competition.
Source: Far Out Magazine