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Monika Gehlawat

Using political and critical theory, this article identifies in James Baldwin a model for citizenship unique to the Black artist who assumed the dual responsibilities of art practice and political activism. I engage with Baldwin’s fiction and his writing about other Black artists working in theater, film, dance, and music during the period of the civil rights movement. Across his career, Baldwin’s prevailing view was that, because of their history, Black artists have the singular, and indeed superlative, capacity to make art as praxis. Baldwin explains that the craft of the Black artist depends upon representing truths, rather than fantasies, about their experience, so that they are at once artists pursuing freedom and citizens pursuing justice. This article pays particular attention to the tension between living a public, political life and the need for privacy to create art, and ultimately the toll this takes on the citizen artist. Baldwin demonstrates how the community of mutual support he finds among Black artists aids in their survival. In his writings on Sidney Poitier and Lorraine Hansberry, his friendships with Beauford Delaney and Josephine Baker, as well as his reviews of music and literature, Baldwin assembles a collective he refers to as “I and my tribe.”

James Baldwin Review
Jules B. Farber

Rather than write a classic biography of James Baldwin in the last cycle of his life—from his arrival in 1970 as a black stranger in the all-white medieval village of Saint-Paul, until his death there in 1987—I sought to discover the author through the eyes of people who knew him in this period. With this optic, I sought a wide variety of people who were in some way part of his life there: friends, lovers, barmen, writers, artists, taxi drivers, his doctors and others who retained memories of their encounters with Baldwin on all levels. Besides the many locals, contact was made with a number of Baldwin’s further afield cultural figures including Maya Angelou, Harry Belafonte, Sidney Poitier, Angela Davis, Bill Wyman, and others. There were more than seventy interviews in person in places as distant as Paris, New York or Istanbul and by telephone spread over four years during the preparatory research and writing of the manuscript. Many of the recollections centred on “at home with Jimmy” or dining at his “Welcome Table.”

James Baldwin Review
The screenplay
Ruvani Ranasinha

Never one to waste his labours, Kureishi decided to write a new film adaptation of E.R. Braithwaite's novel To Sir, With Love . He discussed the idea with Tracey, who spotted its potential with her producer's eye. 111 Braithwaite's novel was best known from its popular 1967 film version starring Sidney Poitier. (Kureishi felt further encouraged when Frears reported that Lulu, who had acted in the first film adaptation, thought the novel deserved to be adapted properly.) Yet the bestselling

in Hanif Kureishi

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Encounters with biosocial power

Refiguring childhood stages a series of encounters with biosocial power, which is a specific zone of intensity within the more encompassing arena of biopower and biopolitics. Assembled at the intersection of thought and practice, biosocial power attempts to bring envisioned futures into the present, taking hold of life in the form of childhood, thereby bridging being and becoming while also shaping the power relations that encapsulate the social and cultural world(s) of adults and children. Taking up a critical perspective which is attentive to the contingency of childhoods – the ways in which particular childhoods are constituted and configured – the method used in the book is a transversal genealogy that moves between past and present while also crossing a series of discourses and practices framed by children’s rights (the right to play), citizenship, health, disadvantage and entrepreneurship education. The overarching analysis converges on contemporary neoliberal enterprise culture, which is approached as a conjuncture that helps to explain, and also to trouble, the growing emphasis on the agency and rights of children. It is against the backdrop of this problematic that the book makes its case for refiguring childhood. Focusing on the how, where and when of biosocial power, Refiguring childhood will appeal to researchers and students interested in examining the relationship between power and childhood through the lens of social and political theory, sociology, cultural studies, history and geography.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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Pan-Africanism within a Politics of Respectability
Alease Brown

Leadership Conference (SCLC). Angelou took the lead in bringing this idea to fruition. She immediately met with Bayard Rustin, Stanley Levinson and Jack Murray at the northern headquarters of the SCLC in Harlem, to seek permission to fundraise in their name. After securing their approval, Angelou spearheaded the production of the Cabaret for Freedom , as the show was called. It opened with celebrities such as Oscar-winning actor Sidney Poitier, Ossie Davis, Ruby Dee and celebrated playwright Lorraine Hansberry in attendance. Cabaret became

in The Pan-African Pantheon
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Mama Africa
Nomsa Mwamuka

and activist Harry Belafonte, who facilitated her travel to America. In November 1959 Miriam arrived in New York in the full glare of the media. Her debut television appearance on The Steve Allen Show , with its viewership of 60 million people, was followed by a series of sold-out performances at upmarket venues. 23 She would meet and befriend artistic and cultural activists as diverse as Sidney Poitier, Duke Ellington, Diahann Carroll, Nina Simone, Marlon Brando, Miles Davis, Dizzy Gillespie, as well as radical African-American writers Maya Angelou (see Brown in

in The Pan-African Pantheon
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Counter-power in photography from slavery to Occupy Wall Street
Nicholas Mirzoeff

. Sidney Poitier led a morning clean-​up brigade and Robert Kennedy’s funeral cortege stopped there for the exchange of mutual respects (McKnight 1998, 125ff.). The goal was to make visible Dr King’s 1967 call for a ‘radical redistribution of wealth and power’ which he openly framed as a correction to the failure to redistribute land in 1865 (Sustar 2015). By designating the commons as a city, and with redistribution of wealth as a goal, the campaign understood that common land itself did not create the commons under late capitalism. Land was a decolonial demand of the

in Image operations
Blackboard Jungle fever in the classroom
Anna Ariadne Knight

beaten up but I’m not beaten.’ Having failed to scare Dadier away, West begins to terrorise Anne through poison pen letters and anonymous phone calls that suggest that Dadier is having an affair with Miss Hammond. As a result, she gives birth prematurely and the couple’s new-born is at risk for several worrying days. ‘Our Teddy boys are angels’ 81 Throughout this suspenseful build-up, Dadier tries various approaches to improve classroom behaviour. He decides to befriend Gregory Miller (Sidney Poitier), who is a well-liked and respected black student and has

in Screening the Hollywood rebels in 1950s Britain