| Record ID | marc_columbia/Columbia-extract-20221130-006.mrc:197072984:1645 |
| Source | marc_columbia |
| Download Link | /show-records/marc_columbia/Columbia-extract-20221130-006.mrc:197072984:1645?format=raw |
LEADER: 01645mam a2200301 a 4500
001 2668200
005 20221012215416.0
008 000406s2000 mau b 000 0 eng
010 $a 00039687
020 $a0674004442 (alk. paper)
035 $a(OCoLC)ocm43903765
035 $9ARB5930CU
035 $a2668200
040 $aDLC$cDLC$dOrLoB-B
050 00 $aPN1995.9.S557$bD38 2000
082 00 $a791.43/655$221
100 1 $aDavis, Natalie Zemon,$d1928-$0http://id.loc.gov/authorities/names/n82156876
245 10 $aSlaves on screen :$bfilm and historical vision /$cNatalie Zemon Davis.
260 $aCambridge, Mass. :$bHarvard University Press,$c2000.
300 $axi, 164 pages :$billustrations ;$c22 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references.
520 1 $a"Davis tackles the large issue of how the moving picture industry has portrayed slaves in five major motion pictures spanning four generations. The potential of film to narrate the historical past in an effective and meaningful way, with insistence on loyalty to the evidence, is assessed in five films: Spartacus (1960), Burn! (1969), The Last Supper (1976), Amistad (1997), and Beloved (1998).".
520 8 $a"Slaves on Screen is based in part on interviews with the Nobel prize-winning author of Beloved, Toni Morrison, and with Manuel Moreno Fraginals, the historical consultant for The Last Supper."--BOOK JACKET.
650 0 $aSlavery in motion pictures.$0http://id.loc.gov/authorities/subjects/sh00001039
852 00 $bglx$hPN1995.9.S557$iD38 2000
852 00 $bbar$hPN1995.9.S557$iD38 2000