>From: Cal <[log in to unmask]>:
>On Tue, 20 Feb 1996 14:53:08 -0600 Chad Dell said:
>>Though I don't recall a direct reference, Mary Carbine's work on Black-owned
>>and operated cinemas in Chicago in the 1920s is an illuminating work in that
>>area.  She write of the jazz bands that accompanied the silent films,
>>creating quite a different spectatorial experience altogether.
>Does anyone have a more complete cite to work on Black exhibition in any
See Chapter 8 of Douglas Gomery's _Shared Pleasures: A History of Movie
Presentation in the Unites States_ (Wisconsin 1992) on "Movie Theaters for
Black Americans."
See also:
Lawrence Cohn,  "The Box Officer." _Premiere_.  July 1, 1994: 41-44.
Summary:  "Movies from African-American directors score high on the
low-budget, big-audience meter. Here are the stats, stores, and trends from
Melvin Van Peebles to Matty Rich."
Gregory A. Waller,  "Another Audience: Black Moviegoing, 1907-16."  _Cinema
Journal_  31:2 (Winter 1992): 3-25.
Jacqueline Bobo, "'The Subject is Money": Reconsidering the Black Film
Audience as a Theoretical Paradigm. _Black American Literature Forum_. 25: 2
(Summer 1991) 421-432.
Mary Carbine, "The Finest Outside the Loop": Motion Picture Exhibition in
Chicago's Black Metropolis, 1905-1928." _Camera Obscura_ 23 (May1990) : 9-42.
Felecia G. Jones. "The Black Audience and the BET Channel." Journal
of Broadcasting & Electronic Media. 34: 4 (Fall 1990) 477-486.
Paula W. Matabane, "Television and the Black Audience: Cultivating Moderate
Perspectives on Racial Integration." _Journal of Communication_ 38: 4 (Fall
1988): 21-32.
Jim Castonguay
>Cal Pryluck, Radio-Television-Film, Temple University, Philadelphia
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