External links
- Ed Guerrero at IMDb
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Ed Guerrero | |
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| Years active | 1979–present |
| Notable works | Framing Blackness: The African American Image in Film (Culture And The Moving Image) |
Ed Guerrero is an American film historian and associate professor of cinema studies and Africana studies in the Department of Social and Cultural Analysis at New York University Tisch School of the Arts. [1] His writings explore black cinema, culture, and critical discourse. He has written extensively on black cinema, its movies, politics and culture for anthologies and journals such as Sight & Sound, FilmQuarterly, Cineaste , Journal of Popular Film & Television, and Discourse. [2] Guerrero has served on editorial and professional boards including The Library of Congress' National Film Preservation Board. [3]
In 1972, Guerrero earned both a Bachelor of Arts degree in English Literature from San Francisco State University and an Master of Fine Arts degree in Filmmaking & Aesthetics from San Francisco Art Institute. He received a Doctor of Philosophy degree in Ethnic Studies, University of California, Berkeley in 1989. He was valedictorian. [4]
He has served on the National Film Preservation Board since 1988. [5]
Books
Essays
{{cite book}}: CS1 maint: multiple names: authors list (link)| International | |
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Shaft is a 1971 American blaxploitation crime action thriller film directed by Gordon Parks and written by Ernest Tidyman and John D. F. Black. It is an adaptation of Tidyman's novel of the same name and is the first entry in the Shaft film series. The plot revolves around a private detective named John Shaft who is hired by a Harlem mobster to rescue his daughter from the Italian mobsters who kidnapped her. The film stars Richard Roundtree as Shaft, alongside Moses Gunn, Charles Cioffi, Christopher St. John, and Lawrence Pressman.
Sweet Sweetback's Baadasssss Song is a 1971 American independent blaxploitation action thriller film written, co-produced, scored, edited, directed by, and starring Melvin Van Peebles. His son Mario Van Peebles also appears in a small role, playing the title character as a young boy. The film tells the picaresque story of a poor black man fleeing from the white police authorities.
Baadasssss! is a 2003 American biographical drama film, written, produced, directed by, and starring Mario Van Peebles. The film is based on the struggles of Van Peebles' father Melvin Van Peebles, as he attempts to film and distribute Sweet Sweetback's Baadasssss Song, a film that was widely credited with showing Hollywood that a viable African-American audience existed, and thus influencing the creation of the blaxploitation genre. The film also stars Joy Bryant, Nia Long, Ossie Davis, Paul Rodriguez, Rainn Wilson, and Terry Crews.
Foxy Brown is a 1974 American blaxploitation action film written and directed by Jack Hill. It stars Pam Grier as the title character who takes on a gang of drug dealers who killed her boyfriend. The film was released by American International Pictures as a double feature with Truck Turner. The film uses Afrocentric references in clothing and hair. Grier starred in six blaxploitation films for American International Pictures.
Tongues Untied is a 1989 American video essay experimental documentary film directed by Marlon T. Riggs, and featuring Riggs, Essex Hemphill, Brian Freeman. and more. The film seeks, in its author's words to, "...shatter the nation's brutalizing silence on matters of sexual and racial difference."
BaadAsssss Cinema is a 2002 TV documentary film directed by Isaac Julien. Julien looks at the Blaxploitation era of the 1970s in this hour-long documentary.
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.
Richard Dyer is an English academic who held a professorship in the Department of Film Studies at King's College London. Specialising in cinema, queer theory, and the relationship between entertainment and representations of race, sexuality, and gender, he was previously a faculty member of the Film Studies Department at the University of Warwick for many years and has held a number of visiting professorships in the United Kingdom, the United States, Italy, Sweden, Denmark, and Germany.
Todd Boyd, aka "Notorious Ph.D.", is the Katherine and Frank Price Endowed Chair for the Study of Race & Popular Culture and Professor of Cinema and Media Studies in the USC School of Cinematic Arts. Boyd is a media commentator, author, producer, consultant and scholar. He is considered an expert on American popular culture and is known for his pioneering work on cinema, media, hip hop culture, fashion, art and sports. Boyd received his PhD in Communication Studies from the University of Iowa in 1991 and began his professorial career at USC in the fall of 1992.
Jay Leyda was an American avant-garde filmmaker and film historian, noted for his work on U.S, Soviet, and Chinese cinema, as well as his documentary compilations on the day-to-day lives of Herman Melville and Emily Dickinson.
Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s, when the combined momentum of the civil rights movement, the black power movement, and the Black Panthers spurred African-American artists to reclaim the power of depiction of their ethnicity, and institutions like UCLA to provide financial assistance for African-American students to study filmmaking. This combined with Hollywood adopting a less restrictive rating system in 1968. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. After the race films of the 1940s and 1960s, the genre emerged as one of the first in which black characters and communities were protagonists, rather than sidekicks, supportive characters, or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.
Manthia Diawara is a Malian writer, filmmaker, cultural theorist, scholar, and art historian. He holds the title of University Professor at New York University (NYU), where he is Director of the Institute of Afro-American Affairs.
Charles John Musser is a film historian, documentary filmmaker, and a film editor. Since 1992, he has taught at Yale University, where he is currently a professor of Film and Media Studies as well as American Studies and Theater Studies. His research has primarily focused on early cinema, and topics such as Edwin S. Porter, Oscar Micheaux, race cinema of the silent era, Paul Robeson, film performance, as well as a variety of issues and individuals in documentary. His films include An American Potter (1976), Before the Nickelodeon: The Early Cinema of Edwin S. Porter (1982) and Errol Morris: A Lightning Sketch (2014).
Blaxploitation horror films are a genre of horror films involving mostly black actors. In 1972, William Crain directed what is considered to be the first blaxploitation horror film, Blacula.
Pearl Bowser was an American author, collector, television director, film scholar, film director, producer, filmmaker, independent distributor and film archivist. Along with her peers Mel Roman and Charles Hobson, Bowser researched and curated "The Black Film" retrospective at the Jewish Museum in 1970. This prompted a new wave of public interest into "exhibiting, producing, and engaging with African American cinema beyond borders". Most of her exalted career was spent traveling the globe in order to cultivate audiences for marginalized filmmakers. An example of her efforts, and also her most groundbreaking work, manifested in her research on "early-1900s Black film pioneer Oscar Micheaux". This research can be seen in her book on the first ten years of the career of Oscar Micheaux, an African-American who directed 40 "race pictures" between 1918 and 1940. She is thus credited for having helped rediscover some of Oscar Micheaux's rare surviving films. She is the founder of African Diaspora Images, a collection of visual and oral histories that documents the history of African-American filmmaking. Part of her journey included teaching young people film in the 1960s and 1970s.
A great number of movies have been made about race relations, or with a strong racial theme over the last century, from D. W. Griffith's The Birth of a Nation (1915) to Marvel Studios' Black Panther (2018).
Black film is a classification of film that has a broad definition relating to the film involving participation and/or representation of black people. The definition may involve the film having a black cast, a black crew, a black director, a black story, or a focus on black audiences. Film industries were established in many areas during the colonial era. The Colonial Film Unit was established by Great Britain. It included the Jamaica Film Unit. Filmmaking in Colonial Nigeria was carried out. Orlando Martins became a Nigerian film star. The Golden Age of Nigerian Cinema came later.
Welcome Home Brother Charles is a 1975 American blaxploitation film written and directed by Jamaa Fanaka. The film stars Marlo Monte as a wrongfully imprisoned man who seeks vengeance upon his transgressors using his prehensile penis. The film, which was shot on weekends over the course of seven months, was completed while Fanaka was a student of UCLA Film School.
African American cinema is loosely classified as films made by, for, or about Black Americans. Historically, African American films have been made with African-American casts and marketed to African-American audiences. The production team and director were sometimes also African American. More recently, Black films featuring multicultural casts aimed at multicultural audiences have also included American Blackness as an essential aspect of the storyline.
Pioneers of African-American Cinema (2015) is a digitally restored anthology collection of independent Black cinema from the first half of the 20th century.