Title:	Post-soul Black cinema:
Other Titles:	Discontinuities, Innovations, and Breakpoints, 1970–1995
Authors:	William, R.Grant, IV Graham Russell Hodges
Keywords:	African Americans in motion pictures
Issue Date:	2004
Publisher:	Routledge
Description:	UNTIL I WENT OFF TO THE UNIVERSITY OF WlSCONSIN IN 1972, MASS media was my one and only avenue for encountering African-American culture. Living halfway between Milwaukee and Madison, family trips to Milwaukee would mean occasionally seeing African-Americans out the car window if we drove in on Capitol Drive, but that was about as close as I came to direct encounters. With both parents as teachers who were also good moderate liberals, I do of course remember news reporting and family discussions of major Civil Rights events in the early 1960s, both heroic and tragic—more the latter, too many assassinations and riots, too much poverty. From grade school I have vague memories of watching Louisiana Story—too vague now to even remember anything at all about African-American representations. And I remember the household vocabulary subtly changing in the early 1960s, with the eventual substitution of “Black” for “Colored” or “Negro.” Of course, thanks to TV and radio, I did know a few of the hit songs by musicians like Little Stevie, Diana and the Supremes, the Tops, and the Temps. I knew who Sidney Poitier was. Bill Cosby was not only a comedian, he was a cool TV spy. In the world of mainstream media, Elvis Presley even came back from the dead in 1969 (from when he was musically dead, not really dead) with his monster hit “In the Ghetto.” But my understanding of African-American culture was not through personal experience, but instead mediated by news headlines, TV shows, Hollywood, and hit songs.
URI:	http://10.6.20.12:80/handle/123456789/9510
ISBN:	0-203-64191-4
Appears in Collections:	African Studies

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