Mixed Race Studies

First Look at Ruth Negga and Joel Edgerton in ‘The Loving Story’ (Based on Anti-Miscegenation Case)

Shadow and Act: On Cinema Of The African Diaspora
2015-11-20

Tambay A. Obenson

Ruth Negga and Joel Edgerton as Mildred and Richard Loving, on the set of the movie “Loving,” being shot in Richmond, Va. (Ben Rothstein/Big Beach Films via AP)

Three years ago, director Nancy Buirski’s feature documentary, “The Loving Story,” was released. It follows the real-life story of Richard and Mildred Loving, an interracial couple living in the state of Virginia where interracial coupling was illegal, and their struggles, including the US Supreme Court case named after them – Loving vs Virginia (1967); the landmark civil rights case in which the United States Supreme Court, in a unanimous decision, declared Virginia’s anti-miscegenation statute, unconstitutional, overturning existing laws and bringing an official end to all race-based restrictions on marriage in the United States.

Persecuted by a local sheriff, the Lovings were found guilty of violating Virginia’s law against interracial marriage and forced to leave the state. But Mildred Loving chose to fight. She wrote a letter to Attorney General Robert F. Kennedy asking for help. He referred her to the ACLU and two young attorneys took the case.

Richard and Mildred Loving

In 1958, they went to Washington, D.C. – where interracial marriage was legal – to get married. But when they returned home, they were arrested, jailed and banished from the state for 25 years for violating the state’s so-called Racial Integrity Act…

Read the entire article here.

Groundbreaking New Series – ‘Mister Brau’ – Gives Afro-Brazilians Representations to Cheer Despite Flaws

Shadow and Act: On Cinema Of The African Diaspora
2015-10-07

Kiratiana Freelon

Lázaro Ramos and Taís Araújo

Brazilian television is very white, but most Brazilians aren’t.

Brazil’s population is more than 50 percent black, but the television news and entertainment shows rarely reflect such diversity. So when a “black” television show debuts, it’s groundbreaking. And when Brazil’s top black female and male actors star in it, it’s a miracle.

Two weeks ago Globo television premiered “Mister Brau,” a weekly comedic show starring Lázaro Ramos and Taís Araújo as a successful pop music couple. They are also married in real life…

…For black Americans, the union between Ramos and Araújo appears to be a perfect match. For Afro-Brazilians, it’s a match that they rarely see. For the most part, rich and successful Afro-Brazilians do not marry black people. Soccer stars marry white women. Black Brazilian models marry white men. Militant black Brazilians always debate the reasons for this. But sociologists have concluded that rich Afro-Brazilians are usually exchanging status when they marry white. They provide the high socioeconomic status in exchange for whiteness, which has a high racial status in Brazil. (See: Race in another America: the significance of skin color in Brazil)…

Read the entire review here.

Review: Nuance-Deprived “Race” Movie ‘Black or White’ is Actually About White Frustration (Opens Friday)

Shadow and Act: On Cinema Of The African Diaspora
2015-01-27

Zeba Blay

“Black or White” opens nationwide this Friday, January 30, via Relativity…

Is it any wonder that a movie as lazily titled as “Black or White” fails to actually tackle issues of race and class in any meaningful way? Is it any wonder, when its writer and director is Mike Binder, a (white) filmmaker whose approach to storytelling has often lacked any semblance of nuance and subtlety? The movie, apparently “based on true events,” is about a custody battle over a 7-year-old biracial Eloise (charming child actress Jillian Estell), between her wealthy and recently widowed white grandfather Elliot (Kevin Costner), and black grandmother Rowena (Octavia Spencer).

When the movie begins, the little girl has been living with her white grandparents since the death of her teen mother at birth. However, after Elliott’s wife dies in a freak car accident, Rowena, a self-made woman who lives in Compton with a tight knit and sprawling extended family, thinks it’s time that Eloise grows up around other black people, fearing that she may lose a sense of her identity.

It’s a fairly intriguing premise, but one that must be handled delicately in order to work. Here, it doesn’t. Very much in the style of past Costner-collaboration, “The Upside of Anger,” Binder’s brand of comedy drama is far too broad. While Costner, whose swaggering charisma has always been his saving grace, turns in a decent performance, hinging on great chemistry with his child co-star, all the swagger in the world couldn’t save this film.

It’s a movie about race that doesn’t actually want to talk about race. Here, the focal point is the wealthy white man who we’re encouraged to root for, from the very beginning, simply by virtue of the fact that he’s in 90% of every scene. Octavia Spencer, once again, is called on to play a variation of the sassy black woman – her acting, as usual, is great, but she’s given little else to do than suck her teeth and roll her eyes, and provide both comic relief and obstacle for Elliot to overcome…

Read the entire review here.

Penny Marshall Directing A Dennis Rodman Documentary + Effa Manley Project In Development

Shadow and Act: On Cinema of the African Diaspora
2012-09-25

Courtney Singer

Lately, she has been working on a documentary about the basketball player Dennis Rodman, some of which she has been shooting via Skype. That came up because a) Ms. Marshall is a big sports fan. (“You can yell and scream at a game and no one’s taking you away in a white coat.”) And b) “I have a little radar to the insane,” she said. “They seek me out. Dennis and his agent asked if I would do a documentary.”

That was from a recent Wall Street Journal profile of actress/producer/director Penny Marshall, on account of the publication of her book My Mother Was Nuts.

I must admit that Penny Marshall’s name probably won’t be the first one I’d think of if I were to come up with a short list of directors for a Dennis Rodman documentary. But as the director of memorable films like Big, Awakenings, A League Of Their Own, The Preacher’s Wife (and several others) says of herself, she’s drawn to the *insane;* or rather, the *insane* are drawn to her – the supposition there being that Dennis Rodman is *insane.*…

But what I did find there was a project she has in development to direct titled Effa. I almost ignored it when I looked closer, and read the project’s synopsis which reads:

Effa Manley is a white woman “passing” as black during segregation. Outspoken, dynamic and beautiful, she crashes through barriers in the male-dominated world of sports as the first woman to own and manage a professional sports team.

The name didn’t immediately ring the bell, so I looked up Effa Manley to learn that she was also the first woman inducted into the Baseball Hall of Fame; She co-owned the Newark Eagles baseball franchise in the Negro leagues with her husband Abe Manley from 1935 to 1946, and was sole owner through 1948 after his death.

She was also active during the America civil rights movement and was a social activist. She died in 1981 at 84 years old.

It’s said that Manley’s racial background is not fully known. Her biological parents may have been white, but she was reportedly raised by her black stepfather and white mother, which lead to assumptions that her stepfather was her biological father and therefore many thought she was black—or at least, bi-racial.

This calls for further research…

Read the entire article here.

Dwayne Johnson – ‘Race Shifter’ In A Post Racial World?

Shadow and Act: On Cinema Of The African Diaspora
2013-03-27

Sergio Mims, Staff Writer

We all know that there’s been a lot of talk about how we are all now living in a “post-racial” society. Though I think, most of us will respond to that with a “Yeah right.”

But things are changing, albeit slowly, but they are changing. And it dawned on me last night, during  an advance screening of G.I. Joe: Retaliation, that the one person who could be an example of this post racial utopia we’re supposed to be living in, is Dwayne Johnson.

It should be very obvious by now the Johnson has been positioning himself to be a major A–list movie star. He easily could have just gone on to be a B-movie actor, content with doing supporting roles in action/exploitation films, and starring in direct-to-video movies, like some of his former WWE cohorts. But Johnson has much higher aspirations.

And it’s not just the film projects that he’s attached himself to, but also, either by design or by happenstance, how he’s been perceived racially by the public. He has become a “race shifter” for lack of a better word.

Through his obviously ethnic, but not clearly defined looks (he’s black Canadian/Samoan), he has managed to become “identified” as it were, by different audiences, as different things, and has used that to his advantage.

I should say that, of course, we identify him as black on S & A, or else we wouldn’t always be reporting news about his various film projects. And Johnson has neither ever obscured, or refused to acknowledge his bi-racial heritage, unlike Vin Diesel, who has gone out of his way to not publicly acknowledge his mixed heritage, preferring to instead let people think he’s, perhaps, Italian…

Read the entire article here.

More Than A Few Words About Post-War German Cinema, Race and ‘Toxi’

Shadow and Act: On Cinema of the African Diaspora
2012-08-01

Sergio Mims, Staff Writer

For anyone interested in foreign films, one of the most interesting periods of German filmmaking was the post war period between 1946 to the mid 1960’s.

In effect, only two types of films were being made: pure escapist film such as musicals and comedies that were designed to make the audience complete forget the ugly events of the recent past. But then there were films such as The Lost One, Germany Year Zero, and Murderers Among Us which explicitly dealt with the aftermath of the horrors of World War II and Germany’s guilt and its repercussions.

But of all the films, one of the most fascinating, and worthy of rediscovery, is the 1952 film Toxi co-written and directed Robert Stemmie, who was major and very successful successful director of the period. It was one of the very few German films made then, and even now, which seriously tried to deal with race. No doubt a very touchy and controversial subject considering Germany’s Nazi “racial purity” agenda.

For years the film was very difficult to see. I first saw it a couple of years ago during a film series of post war German films. However, the film has been recently remastered and released on DVD and is available from the DEFA Film Library DVD series from the University of Massachusetts Amherst.

The film centers around an abandoned German “occupation baby”, which was the term for children of U.S, soldiers stationed in Germany after the war and German women, who were abandoned by their parents. It was estimated that there were some 3000-5000 of these children, many of whom were biracial.

The lead actress, who was six years old when she made the film, was Elfie Fiegert who was herself an “occupation baby” left by both her parents and adopted by a childless German couple who renamed her…

Read the entire review here.