MARC Record from marc_columbia

LEADER: 03912cam a2200517 i 4500
001 8953058
005 20220712090256.0
008 110819s2021 inua b 001 0deng
010 $a 2020035857
024 $a99990543280
024 8 $a40030431241
035 $a(OCoLC)on1154155493
040 $aDLC$beng$erda$cDLC$dOCLCO$dOCLCF$dYDX$dWVU$dYUS$dBKL
020 $a0253356539$q(hardcover)
020 $a9780253356536$q(hardcover)
020 $a0253223385$q(paperback)
020 $a9780253223388$q(paperback)
020 $z9780253017598$qelectronic book
035 $a(OCoLC)1154155493
042 $apcc
043 $ae-fr---
050 00 $aGV1785.B3$bF73 2021
082 00 $a792.8092$aB$223
100 1 $aFrancis, Terri Simone,$eauthor.
245 10 $aJosephine Baker's cinematic prism /$cTerri Simone Francis.
264 1 $aBloomington, Indiana :$bIndiana University Press,$c[2021]
300 $axi, 199 pages :$billustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 179-188) and index.
520 $a"Josephine Baker, the first black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping. Nicknamed the "Black Venus," "Black Pearl," and "Creole Goddess," Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker's film career brought hope to the black press that a new cinema centered on black glamour would come to fruition. In Josephine Baker's Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis artfully illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans' broader aspirations for progress toward racial equality. Examining an unexplored aspect of Baker's career, Josephine Baker's Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African Diaspora"--$cProvided by publisher.
600 10 $aBaker, Josephine,$d1906-1975$xCriticism and interpretation.
600 17 $aBaker, Josephine,$d1906-1975$2fast$0(OCoLC)fst00006818
650 0 $aAfrican American women dancers$zFrance.
650 0 $aAfrican American motion picture actors and actresses$zFrance.
650 0 $aAfrican Americans in motion pictures$zFrance.
650 0 $aAfrican American entertainers$zFrance.
650 7 $aAfrican American entertainers$2fast$0(OCoLC)fst00799146
650 7 $aAfrican American motion picture actors and actresses$2fast$0(OCoLC)fst00799268
650 7 $aAfrican American women dancers$2fast$0(OCoLC)fst01930709
650 7 $aAfrican Americans in motion pictures$2fast$0(OCoLC)fst00799733
651 7 $aFrance$2fast$0(OCoLC)fst01204289
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iOnline version:$aFrancis, Terri Simone,$tJosephine Baker's cinematic prism$dBloomington : Indiana University Press, 2021.$z9780253017598$w(DLC) 2020035858
852 0 $bbar$hGV1785.B3$iF73 2021