Hollywood imagines revolutionary Haiti: the forgotten film Lydia Bailey (1952).
This article explores the history of Lydia Bailey, the only US studio-made film to depict the Haitian Revolutionary period. It asks why, in the late 1940s and early 1950s, such an unlikely project might have seemed commercially promising enough to justify a significant production budget. The essay d...
| Publicado en: | Historical Journal of Film, Radio & Television Vol. 41; no. 4; pp. 759 - 788 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=154211929&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 154211929 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01439685 HFT jtl: Historical Journal of Film, Radio & Television issn: 01439685 maglogo: N pubinfo: dt: Dec2021 vid: 41 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 154211929 10.1080/01439685.2021.1901994 ppf: 759 ppct: 29 formats: fmt: @attributes: type: P size: 1.1MB tig: atl: Hollywood imagines revolutionary Haiti: the forgotten film Lydia Bailey (1952). aug: au: Smith, Judith E. affil: American Studies, University of Massachusetts Boston, 100 Morrissey Blvd, Boston, MA su: Black history White supremacy Cold War, 1945-1991 Anti-communist movements Filmmaking Motion picture studios Haiti sug: subj: Haiti Black history White supremacy Cold War, 1945-1991 Anti-communist movements Filmmaking Motion picture studios ab: This article explores the history of Lydia Bailey, the only US studio-made film to depict the Haitian Revolutionary period. It asks why, in the late 1940s and early 1950s, such an unlikely project might have seemed commercially promising enough to justify a significant production budget. The essay draws on private studio memorandums as well as public press discussions to shed light on the high stakes in debates over racial representation and colonialism/decolonization in the late 1940s and early 1950s, and to illuminate everyday assumptions of white supremacy as these shaped the making of the film and its promotion. Production files and a range of industry, daily and weekly mainstream white press and Black newspapers document the racial divide shaping the film's production and reception. The story of the making and forgetting of Lydia Bailey reveals the process by which transnational Black history and Black struggle became more public and legible in the wake of WWII anti-fascism and internationalism, and then was driven back off stage by the political mobilization of Cold War anti-Communism. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Historical Journal of Film, Radio & Television is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Historical Journal of Film, Radio & Television holder: Taylor & Francis Ltd dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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