Base Ball is a peer-reviewed journal published annually. Offering the best in original research and analysis, the journal promotes study of baseball's early history, from its protoball roots to 1920, and its rise to prominence within American popular culture.
This critical reexamination of Amos ’n’ Andy, the pioneering creation of Charles Correll and Freeman Gosden, presents an unapologetic but balanced view lacking in most treatments. It relies upon an untapped resource—thousands of pages of scripts from the show’s nearly forgotten earliest version, which most clearly reflected the vision of its creators. Consequently, it provides fresh insights and in part refutes the usual blanket condemnations of this groundbreaking show. The text incorporates numerous script excerpts, provides key background information, and also acknowledges the show’s importance to radio broadcasting and modern entertainment.
A guide to programs currently available on video in the areas of movies/entertainment, general interest/education, sports/recreation, fine arts, health/science, business/industry, children/juvenile, how-to/instruction.
In 1930, 40 million Americans tuned in to Amos 'n' Andy, a radio serial created and acted by two white men, about the adventures of two southern blacks Ely follows the history of the show, discusses the strange charm of the scripts, and the serial's impact on racial issues.
This is an examination of the concepts of spectatorship in the light of historical accounts of audience reception. The book looks at how audiences have historically talked about Hollywood movies, and the ways in which 'word-of-mouth' responses have affected the reception of individual movies.
This is a comprehensive guide to the black experience both on film and behind the camera. More than 6,000 entries documenting global film activity from 1919 to 1990 offer historical perspective on the black image in film, bibliographical material on filmmakers and individual artists, and exciting information on newly emerging talent throughout the world. Drawing on a wide variety of resource materials, the study furnishes extensive coverage of developments in filmmaking in Sub-Saharan Africa, Latin America, Europe, and the Caribbean, followed by a thorough examination of the African-American film experience. Two appendixes provide supplementary data on reference works, and names and addresses of notable film resource centers. Four indexes keyed by artist, title, subject, and author complete the work, which proves to be a valuable reference work for scholars and historians in the field of blacks in film.