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Race film

February 15, 2024

For films called Race or The Race, see Race#Film.

The race film or race movie was a genre of film produced in the United States between about 1915 and the early 1950s, consisting of films produced for black audiences, and featuring black casts. Approximately five hundred race films were produced. Of these, fewer than one hundred remain. Because race films were produced outside the Hollywood studio system, they were largely forgotten by mainstream film historians until they resurfaced in the 1980s on the BET cable network. In their day, race films were very popular among African-American theatergoers. Their influence continues to be felt in cinema and television marketed to African-Americans.

Race film
The Homesteader (1919) by film pioneer Oscar Micheaux emphasized its black cast.
Years active1915–1950s
CountryUnited States
Major figuresZora Neale Hurston, Solomon Sir Jones, Oscar Micheaux, Paul Robeson, Tressie Souders, Lester Walton, Maria P. Williams, Spencer Williams
InfluencesBlack Vaudeville
InfluencedChitlin' Circuit, Independent Black cinema

The term "race film" is sometimes used to describe films of the period aimed at other minority audiences. For instance, the 1926 film Silk Bouquet (also known as The Dragon Horse) starred the Asian-American actress Anna May Wong and was marketed to Chinese-American audiences.[1]

Financing and production edit

 
The Green Eyed Monster, an all black romantic adventure by the Norman Film Manufacturing Company with an elaborate and expensive train wreck.

African Americans produced films for black audiences as early as 1905, but most race films were produced after 1915.[2] As many as 500 race films were produced in the United States between 1915 and 1952.[3] As happened later with the early black sitcoms on television, race movies were most often financed by white-owned companies, such as Leo Popkin, and scripted and directed by whites. But one producer, Alfred N. Sack, made some films written and directed by black talent such as Spencer Williams. Many race films were produced by white-owned film companies outside the Hollywood-centered American film industry, such as Million Dollar Productions in the 1930s and Toddy Pictures in the 1940s. One of the earliest surviving examples of a black cast film aimed at a black audience is A Fool and His Money (1912), directed by French emigree Alice Guy for the Solax Film Company.[4] The Ebony Film Company of Chicago, created specifically to produce black-cast films, was also headed by a white production team.[5]

Some black-owned studios existed, including Lincoln Motion Picture Company (1916–1921). The most notable was Oscar Micheaux's Chicago-based Micheaux Film Corporation, which operated from 1918–1940. On his posters, Micheaux advertised that his films were scripted and produced exclusively by African Americans. Astor Pictures also released several race films and produced Beware with Louis Jordan.[citation needed] In total, there were approximately 150 independent companies producing race movies during this period.[6]

The race films vanished during the early 1950s after African-American participation in World War II contributed to the starring of black actors in lead roles in several Hollywood major productions. Many of these focused on the serious problems of integration and racism, such as Pinky with Ethel Waters; Home of the Brave with James Edwards; and Intruder in the Dust, all in 1949; and No Way Out (1950), which was the debut of the notable actor Sidney Poitier. The last known race film appears to have been an obscure adventure film of 1954 called Carib Gold.[citation needed]

Venues edit

In the South, to comply with laws on racial segregation, race movies were screened at designated black theaters. Though northern cities were not always formally segregated, race films were generally shown in theaters in black neighborhoods. Many large northern theaters segregated black audiences by requiring them to sit in the balconies or by attending later showtimes.

While it was rare for race films to be shown to white audiences, white theaters often reserved special time-slots for black moviegoers. This resulted in race films often being screened as matinées and midnight shows. During the height of their popularity, race films were shown in as many as 1,100 theaters around the country.[7]

Themes edit

 
Lobby card for The Gunsaulus Mystery (1921)

The films were produced primarily in northern cities, where the target audience consisted primarily of poor southern blacks and southerners who had migrated northward. Many race films, particularly those produced by white studios, expressed middle-class urban values, especially education and industriousness. Common themes included the "improvement" of the black race, the tension between educated and uneducated blacks, and the tragic consequences in store for blacks who resisted liberal capitalist values. The most famous race movie, The Scar of Shame, incorporated all of these themes.

Race films typically avoided explicit depictions of poverty, ghettos, social decay, and crime. When such elements appeared, they often did so in the background or as plot devices. Race films rarely treated the subjects of social injustice and race relations, although blacks had been legally disenfranchised in the South since the turn of the century, and suffered discrimination in both the North and South.

According to film historian Donald Bogle, some of the earliest race films were "quite frankly, terrible".[6] Spying Like the Spy (1917) was an example of a film produced by a white-owned company that was "almost as stereotypical as any Hollywood product".[6]

Other race films avoided many of the popular black stock characters found in contemporary mainstream films, or else relegated these stereotypes to supporting roles and villains. Micheaux depicted his protagonists as educated, prosperous, and genteel. Micheaux hoped to give his audience something to help them "further the race".[citation needed]

Black comedians such as Mantan Moreland, who had played supporting comedy roles in mainstream Hollywood films, reprised his character as the lead in such films as Professor Creeps and Mr Washington Goes To Town. Some black entertainers, such as Moms Mabley or Pigmeat Markham, starred in their own vehicles. Mabley and Markham did not appear in mainstream entertainment until the late 1960s, when both were featured on Laugh-In on American television.

Many black singers and bands appeared in lead or supporting roles in race films; Louis Jordan, for example, made three films.

Historical significance edit

Race films are of great interest to students of African-American cinema. They are historically significant due to their ability to showcase the talents of actors who otherwise were relegated to stereotypical supporting roles in mainstream studio films. Hattie McDaniel and Clarence Muse are two of the most striking examples of talented performers who generally were given minor roles in mainstream film. A few stars from race films were able to cross over to relative stardom in mainstream works – for example, Paul Robeson and Evelyn Preer. Hollywood studios often used race movies as a recruiting source of black talent.

Notable race films edit

See also edit

References edit

  1. ^ "She (Wong) also appeared in a Chinese 'race' film, The Silk Bouquet, released in June 1926 ...." © Anna May Wong - Silent and Sound Film Actress - goldensilents.com
  2. ^ Caddoo, Cara; Envisioning Freedom: Cinema and the Building of Modern Black Life: Cambridge: Harvard University Press, 2014; 24
  3. ^ McMahan, Alison; Alice Guy Blache: Lost Visionary of the Cinema; New York: Continuum, 2002; 148
  4. ^ McMahan; 147
  5. ^ Leab, Daniel. From Sambo to Superspade: The Black Experience in Motion Pictures. Boston: Houghton Mifflin, 1975; 45
  6. ^ a b c Bogle, Donald (October 1985). "No Business Like Micheaux Business: 'B'...for Black". Film Comment.
  7. ^ MessyNessy (February 6, 2019). "Race Movies and the Black-Owned Studios that Thrived Next to Hollywood, February 6, 2020". Retrieved January 16, 2021.
Print references
  • Caddoo, Cara. Envisioning Freedom: Cinema and the Building of Modern Black Life. Harvard University Press, 2014. ISBN 0674368053
  • Diawara, Manthia. Black American Cinema. Routledge, 1993. ISBN 0-415-90397-1
  • Gaines, Jane M. Fire and Desire: Mixed-Race Movies in the Silent Era. University Of Chicago Press, 2001. ISBN 0-226-27875-1

External links edit

 
Wikimedia Commons has media related to Race films.
 
Wikisource has original works on the topic: Race films
  • 95 Race Films on DVD
  • The Separate Cinema Archive. A collection of posters that chronicle the history of Black Film

February 15, 2024
race, film, films, called, race, race, race, film, race, film, race, movie, genre, film, produced, united, states, between, about, 1915, early, 1950s, consisting, films, produced, black, audiences, featuring, black, casts, approximately, five, hundred, race, f. For films called Race or The Race see Race Film The race film or race movie was a genre of film produced in the United States between about 1915 and the early 1950s consisting of films produced for black audiences and featuring black casts Approximately five hundred race films were produced Of these fewer than one hundred remain Because race films were produced outside the Hollywood studio system they were largely forgotten by mainstream film historians until they resurfaced in the 1980s on the BET cable network In their day race films were very popular among African American theatergoers Their influence continues to be felt in cinema and television marketed to African Americans Race filmThe Homesteader 1919 by film pioneer Oscar Micheaux emphasized its black cast Years active1915 1950sCountryUnited StatesMajor figuresZora Neale Hurston Solomon Sir Jones Oscar Micheaux Paul Robeson Tressie Souders Lester Walton Maria P Williams Spencer WilliamsInfluencesBlack VaudevilleInfluencedChitlin Circuit Independent Black cinemaThe term race film is sometimes used to describe films of the period aimed at other minority audiences For instance the 1926 film Silk Bouquet also known as The Dragon Horse starred the Asian American actress Anna May Wong and was marketed to Chinese American audiences 1 Contents 1 Financing and production 2 Venues 3 Themes 4 Historical significance 5 Notable race films 6 See also 7 References 8 External linksFinancing and production edit nbsp The Green Eyed Monster an all black romantic adventure by the Norman Film Manufacturing Company with an elaborate and expensive train wreck African Americans produced films for black audiences as early as 1905 but most race films were produced after 1915 2 As many as 500 race films were produced in the United States between 1915 and 1952 3 As happened later with the early black sitcoms on television race movies were most often financed by white owned companies such as Leo Popkin and scripted and directed by whites But one producer Alfred N Sack made some films written and directed by black talent such as Spencer Williams Many race films were produced by white owned film companies outside the Hollywood centered American film industry such as Million Dollar Productions in the 1930s and Toddy Pictures in the 1940s One of the earliest surviving examples of a black cast film aimed at a black audience is A Fool and His Money 1912 directed by French emigree Alice Guy for the Solax Film Company 4 The Ebony Film Company of Chicago created specifically to produce black cast films was also headed by a white production team 5 Some black owned studios existed including Lincoln Motion Picture Company 1916 1921 The most notable was Oscar Micheaux s Chicago based Micheaux Film Corporation which operated from 1918 1940 On his posters Micheaux advertised that his films were scripted and produced exclusively by African Americans Astor Pictures also released several race films and produced Beware with Louis Jordan citation needed In total there were approximately 150 independent companies producing race movies during this period 6 The race films vanished during the early 1950s after African American participation in World War II contributed to the starring of black actors in lead roles in several Hollywood major productions Many of these focused on the serious problems of integration and racism such as Pinky with Ethel Waters Home of the Brave with James Edwards and Intruder in the Dust all in 1949 and No Way Out 1950 which was the debut of the notable actor Sidney Poitier The last known race film appears to have been an obscure adventure film of 1954 called Carib Gold citation needed Venues editIn the South to comply with laws on racial segregation race movies were screened at designated black theaters Though northern cities were not always formally segregated race films were generally shown in theaters in black neighborhoods Many large northern theaters segregated black audiences by requiring them to sit in the balconies or by attending later showtimes While it was rare for race films to be shown to white audiences white theaters often reserved special time slots for black moviegoers This resulted in race films often being screened as matinees and midnight shows During the height of their popularity race films were shown in as many as 1 100 theaters around the country 7 Themes edit nbsp Lobby card for The Gunsaulus Mystery 1921 This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations April 2021 Learn how and when to remove this template message The films were produced primarily in northern cities where the target audience consisted primarily of poor southern blacks and southerners who had migrated northward Many race films particularly those produced by white studios expressed middle class urban values especially education and industriousness Common themes included the improvement of the black race the tension between educated and uneducated blacks and the tragic consequences in store for blacks who resisted liberal capitalist values The most famous race movie The Scar of Shame incorporated all of these themes Race films typically avoided explicit depictions of poverty ghettos social decay and crime When such elements appeared they often did so in the background or as plot devices Race films rarely treated the subjects of social injustice and race relations although blacks had been legally disenfranchised in the South since the turn of the century and suffered discrimination in both the North and South According to film historian Donald Bogle some of the earliest race films were quite frankly terrible 6 Spying Like the Spy 1917 was an example of a film produced by a white owned company that was almost as stereotypical as any Hollywood product 6 Other race films avoided many of the popular black stock characters found in contemporary mainstream films or else relegated these stereotypes to supporting roles and villains Micheaux depicted his protagonists as educated prosperous and genteel Micheaux hoped to give his audience something to help them further the race citation needed Black comedians such as Mantan Moreland who had played supporting comedy roles in mainstream Hollywood films reprised his character as the lead in such films as Professor Creeps and Mr Washington Goes To Town Some black entertainers such as Moms Mabley or Pigmeat Markham starred in their own vehicles Mabley and Markham did not appear in mainstream entertainment until the late 1960s when both were featured on Laugh In on American television Many black singers and bands appeared in lead or supporting roles in race films Louis Jordan for example made three films Historical significance editRace films are of great interest to students of African American cinema They are historically significant due to their ability to showcase the talents of actors who otherwise were relegated to stereotypical supporting roles in mainstream studio films Hattie McDaniel and Clarence Muse are two of the most striking examples of talented performers who generally were given minor roles in mainstream film A few stars from race films were able to cross over to relative stardom in mainstream works for example Paul Robeson and Evelyn Preer Hollywood studios often used race movies as a recruiting source of black talent Notable race films editThe Colored American Winning His Suit 1916 first five reel drama race film according to The New York Age lost The Homesteader 1919 lost The Green Eyed Monster 1919 lost Within Our Gates 1920 first surviving race film The Symbol of the Unconquered 1920 Body and Soul 1925 Paul Robeson s cinematic debut The Flying Ace 1926 The Exile 1931 The Emperor Jones 1933 The Green Pastures 1936 Harlem on the Prairie 1937 Herb Jeffries in the first singing cowboy Western race movie Harlem Rides the Range 1939 Lying Lips 1939 The Blood of Jesus 1941 first race film added to the U S National Film Registry in 1991 Brother Martin Servant of Jesus 1942 lost Cabin in the Sky 1943 Vincente Minnelli s first film Stormy Weather 1943 Go Down Death 1944 Dirty Gertie from Harlem U S A 1946 Boy What a Girl 1947 Hi De Ho 1947 Sepia Cinderella 1947 The Betrayal 1948 lost Bright Road 1953 first feature film appearance by Harry Belafonte Carmen Jones 1954 Carib Gold 1956 final race film citation needed See also editBlaxploitation Race record Black filmReferences edit She Wong also appeared in a Chinese race film The Silk Bouquet released in June 1926 c Anna May Wong Silent and Sound Film Actress goldensilents com Caddoo Cara Envisioning Freedom Cinema and the Building of Modern Black Life Cambridge Harvard University Press 2014 24 McMahan Alison Alice Guy Blache Lost Visionary of the Cinema New York Continuum 2002 148 McMahan 147 Leab Daniel From Sambo to Superspade The Black Experience in Motion Pictures Boston Houghton Mifflin 1975 45 a b c Bogle Donald October 1985 No Business Like Micheaux Business B for Black Film Comment MessyNessy February 6 2019 Race Movies and the Black Owned Studios that Thrived Next to Hollywood February 6 2020 Retrieved January 16 2021 Print referencesCaddoo Cara Envisioning Freedom Cinema and the Building of Modern Black Life Harvard University Press 2014 ISBN 0674368053 Diawara Manthia Black American Cinema Routledge 1993 ISBN 0 415 90397 1 Gaines Jane M Fire and Desire Mixed Race Movies in the Silent Era University Of Chicago Press 2001 ISBN 0 226 27875 1External links edit nbsp Wikimedia Commons has media related to Race films nbsp Wikisource has original works on the topic Race films 95 Race Films on DVD General information Oscar Micheaux and the Micheaux Film Corporation The Separate Cinema Archive A collection of posters that chronicle the history of Black Film Retrieved from https en wikipedia org w index php title Race film amp oldid 1202970403, wikipedia, wiki, book, books, library,

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