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231 INDEX Abbott, Berenice, 98 Abyssinian Development Corporation, 200n10, 228–229n81 actors, African American: advice for, 103; in early films, 6, 42–43; in early race films, 62–63, 65–66, 209n34, 210n50; film’s dedication to, 79; Hollywood’s demand for, 69; Hollywood’s increased use of, 84, 129–130; professional and nonprofessional in same film, 118. See also specific people and films Adams, John H., Jr., 6, 31–32, 32, 33 Adams, Michael Henry, 161 advertising and marketing: Claiborne/ VanDerZee portraits used for, 160–163, 161, 164; films, 76–77, 132, 138, 227n59; housing and real estate, 2–3, 26, 45, 46, 157, 159, 206n82 aesthetics, African American: changing style and substance (1980s), 141; elite preferences and tensions in, 8–9, 13, 27–31, 62–64; film excluded from, 41–42, 60, 62–67, 163–164; ideal “types” in, 31–32, 32, 33, 34–39, 37, 38, 41; pre-WWII context of, 4–7; site of definition and debate in, 2; Talented Tenth’s role in defining, 25–27; tensions over popular vs. elite, 43–45, 76; uplift ideology and, 28–31. See also urban aesthetics; specific genres African Americans: authors’ ambivalence about and fascination with Hollywood, 103–106; depictions of families, 182–183; metaphor for celebration and containment of, 88–90, 8, 0, 1; political setbacks for, 23. See also actors; aesthetics; art; black bourgeoisie and elite; identity; politics; popular entertainments; representations; uplift ideology; urban spaces; young males Afrika Bambaataa (hip hop artist), 140 Afro-American Film Company: films of, 62–64, 209n34, 209–210n35; focus of, 68; white investors and founding of, 7, 62 Afro-American Realty Company (Philip A. Payton Jr.): advertising and marketing of, 3, 45, 46, 159; founding of, 54; moral and cultural concerns of, 26; prospectus of, 199n4 Agassiz, Louis, 34, 35, 35, 36, 37 Agee, James: film criticism of, 216n48; independent film collaboration of, 95; liberalism of, 14; works: Let Us Now Praise Famous Men (with Evans), 13, 95; In the Street (with Levitt), 106–107. See also The Quiet One (1948) Ahearn, Charlie. See Wild Style (1983) AIP (American International Pictures, earlier American Releasing Corporation), 130, 135, 219–220n10, 220n19 Alexander, William, 84, 87 Alhambra Theatre, 44 Ali, Muhammad, 181 All American Newsreel Company, 87 Allen, James Latimer, 84 Altman, Robert, 220n14 America (1924), 93 American Gangster (2007): approach to, 164–165; box office earnings, 227n58; budget, 179; context of making vs. Harlem’s history in, 184–185; gangster as hero in, 177–183; implications of, 190–191; locations, 185–187, 228n69; marketing of, 227n59; nostalgia’s function in, 17, 18; race acknowledged in, 183–184; soundtrack, 184; stills, 178, 182; storyline, 178–179; temporal schizophrenia in, 177–178, 186–189 American Gangster (television series), 228n79 American International Pictures (AIP, earlier American Releasing Corporation), 130, 135, 219–220n10, 220n19 American Mutoscope and Biograph Company, 6, 8, 42–43. See also Fights of Nations (1907) Amerie (singer), 161 Am I Guilty? (1940), 83, 213n88 Anthology Film Archives, 218n74 Note: Page numbers in italics indicate figures. Apollo Theater: Amateur Night of, 76; in blaxploitation film, 131; film premieres at, 86, 213n88; Malcolm X and, 165, 171 architecture: Benjamin on film and, 224n11; black bourgeoisie symbolized in, 143–144, 145–146; in Harlemworld, 163. See also urban spaces Arkoff, Samuel Z., 219–220n10, 220n12 Arnheim, Rudolf, 61 Arnold, Matthew, 27 art, African American: developing criteria for, 56–61; hierarchy in, 27; as propaganda vs. art, 12. See also aesthetics; film; literary arts; urban aesthetics; visual arts Askew, Thomas E., 35, 39 Associated Film Producers of Negro Motion Pictures, 87 Associated Press, 219n2 Astor Pictures, 87 Atkinson, Leslie “Ike,” 227n61 “Atlanta Compromise,” 23 Attie, Alice, 229n1. See also Harlem on the Verge Audubon Ballroom, 225n40 “aura” concept, 18–19, 192 The Autobiography of Malcolm X (Haley): Malcolm X (1992) compared with, 17, 165–169, 171–172; writing screenplay of, 103–105, 164–165, 224n17. See also Malcolm X (1972); Malcolm X (1992) Avedon, Richard, 100 Avery, Val, 133 Aviles, Anthony, 127 Baker, Houston A., 37 Baldwin, James: documentary photography and, 14; film projects of, 103–105; on Harlem ghetto, 88; on Miller’s Cool World, 116; photo-text idea and projects of, 98, 100–101; work on Harlem Stirs, 127; work on Malcolm X, 103–105, 165–166, 224n17, 224n19; works: The Devil Finds Work, 104; Nothing Personal (with Avedon), 100–101, 219n7; One Day, When I Was Lost, 104 Balgley, Robert, 107 Baltimore Afro-American Ledger (newspaper), 26, 86 Bandy, Robert, 90, 91...

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