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In this history of the black peasants of Amazonia, Oscar de la Torre focuses on the experience of African-descended people navigating the transition from slavery to freedom. He draws on social and environmental history to connect them intimately to the natural landscape and to Indigenous peoples. Relying on this world as a repository for traditions, discourses, and strategies that they retrieved especially in moments of conflict, Afro-Brazilians fought for autonomous communities and developed a vibrant ethnic identity that supported their struggles over labor, land, and citizenship. Prior to abolition, enslaved and escaped blacks found in the tropical forest a source for tools, weapons, and trade--but it was also a cultural storehouse within which they shaped their stories and records of confrontations with slaveowners and state authorities. After abolition, the black peasants' knowledge of local environments continued to be key to their aspirations, allowing them to maintain relationships with powerful patrons and to participate in the protest cycle that led Getulio Vargas to the presidency of Brazil in 1930. In commonly referring to themselves by such names as "sons of the river," black Amazonians melded their agro-ecological traditions with their emergent identity as political stakeholders.
Oscar Micheaux—the most prolific African American filmmaker to date and a filmmaking giant of the silent period—has finally found his rightful place in film history. Both artist and showman, Micheaux stirred controversy in his time as he confronted issues such as lynching, miscegenation, peonage and white supremacy, passing, and corruption among black clergymen. In this important collection, prominent scholars examine Micheaux's surviving silent films, his fellow producers of race films who alternately challenged or emulated his methods, and the cultural activities that surrounded and sustained these achievements. The relationship between black film and both the stage (particularly the Lafayette Players) and the black press, issues of underdevelopment, and a genealogy of Micheaux scholarship, as well as extensive and more accurate filmographies, give a richly textured portrait of this era. The essays will fascinate the general public as well as scholars in the fields of film studies, cultural studies, and African American history. This thoroughly readable collection is a superb reference work lavishly illustrated with rare photographs.
The murder trial of Oscar Pistorius will rivet the world's attention in a way no other case has since another famous sportsman, O.J. Simpson, was tried for the murder of his ex-wife in 1994. John Carlin brings his own extensive knowledge of South Africa and access to Pistorius himself, as well as to his friends and family, after the death of Reeva Steenkamp to tell the story of the rise and fall of a classically tragic hero.
"Rich in imagery and the detail of small-town life and haunting in its portrayal of ordinary men and women struggling to understand loss. Under Mr. Banks's restrained craftsmanship, what begins as the story of senseless tragedy is transformed into an aspiring testament to hope and human resilience." — Atlanta Constitution In The Sweet Hereafter, Russell Banks tells a story that begins with a school bus accident. Using four different narrators, Banks creates a small-town morality play that addresses one of life's most agonizing questions: when the worst thing happens, who do you blame? Here is a stunning novel of "compelling moral suspense" (Los Angeles Times Book Review) from one of America's greatest storytellers.
Over the course of forty years, Oscar Norwich accumulated the world's greatest private collection of African maps. This catalog comprises a record of foreign knowledge of the continent from the "Age of Exploration" to modern times, and demonstrates how the rest of the world was quick to learn the shape of the African continent but slow to grasp the realities of its interior. From the fabulous creatures depicted on early maps to the blank "regions unknown" of later ones, from those that depicted the kingdom of the legendary Prester John to maps as late as the 19th century that still featured the imaginary Mountains of Kong, this collection documents a long and troubled history of developing knowledge of the continent. Each map is illustrated and carefully described, including bibliographical citations. Originally published in 1983, the book has been revised and edited by Jeffrey Stone for this second edition.
Winner of the Pulitzer Prize for Drama, 1982 A black sergeant cries out in the night, "They still hate you," then is shot twice and falls dead. Set in 1944 at Fort Neal, a segregated army camp in Louisiana, Charles Fuller's forceful drama--which has been regularly seen in both its original stage and its later screen version starring Denzel Washington--tracks the investigation of this murder. But A Soldier's Play is more than a detective story: it is a tough, incisive exploration of racial tensions and ambiguities among blacks and between blacks and whites that gives no easy answers and assigns no simple blame.
At the 2007 Academy Awards® ceremony, an unprecedented number of Black performers received acting nominations, and two of the statues awarded that evening went to Forest Whitaker and Jennifer Hudson. Indeed, since 2000, more African Americans have received Oscars than in the previous century. While the last few years have seen more and more Black performers receive acknowledgment by the Academy, it hasn't always been that way. African Americans and the Oscar®: Decades of Struggle and Achievement highlights the advancements Black performers have made on the silver screen and how those performances were honored by the Academy. In the Academy's first 40 years, less than ten African Americans were cited for their work on screen and only two, Hattie McDaniel and Sidney Poitier, received competitive awards before the 1980s. This book profiles all the nominees and recipients of the coveted award in the acting, writing, and directing categories, beginning with the first: McDaniel's Best Supporting Actress win for her role in Gone with the Wind (1939). Each entry, organized chronologically and by name, provides valuable information about how the role or film was viewed during its time and also places it in historical context by drawing connections to other related awards or events in film history. In the introduction, Mapp's overview of the nomination process helps explain the historically low percentage of African Americans who have been nominated or received the honor. Also, appendixes provide lists of non-acting/directing nominees and winners, overlooked performances, and performers of nominated songs. Highlighting the achievements of Sidney Poitier, Whoopi Goldberg, Halle Berry, Morgan Freeman, Spike Lee, Jamie Foxx, Denzel Washington and others, this volume provides an enlightening history of the Black experience in Hollywood and will fascinate fans of all ages.
In Out of Africa, author Isak Dinesen takes a wistful and nostalgic look back on her years living in Africa on a Kenyan coffee plantation. Recalling the lives of friends and neighbours—both African and European—Dinesen provides a first-hand perspective of colonial Africa. Through her obvious love of both the landscape and her time in Africa, Dinesen’s meditative writing style deeply reflects the themes of loss as her plantation fails and she returns to Europe. HarperTorch brings great works of non-fiction and the dramatic arts to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperTorch collection to build your digital library.
Hattie McDaniel is best known for her performance as Mammy, the sassy foil to Scarlett O'Hara in Gone with the Wind. Though the role called for yet another wide–grinned, subservient black domestic, McDaniel transformed her character into one who was loyal yet subversive, devoted yet bossy. Her powerful performance would win her the Oscar for Best Supporting Actress and catapult the hopes of Black Hollywood that the entertainment industry ––after decades of stereotypical characters–– was finally ready to write more multidimensional, fully realized roles for blacks. But racism was so entrenched in Hollywood that despite pleas by organizations such as the NAACP and SAG ––and the very examples that Black service men were setting as they fought against Hitler in WWII–– roles for blacks continued to denigrate the African American experience. So rather than see her stature increase in Hollywood, as did other Oscar–winning actresses, Hattie McDaniel, continued to play servants. And rather than see her popularity increase, her audience turned against her as an increasingly politicized black community criticized her and her peers for accepting degrading roles. "I'd rather play a maid then be a maid," Hattie McDaniel answered her critics but her flip response belied a woman who was herself emotionally conflicted about the roles she accepted but who tried to imbue each Mammy character with dignity and nuance.
His unforgiving brother, a post-apartheid politician, tries to come to terms with Oscar's apostasy but will himself betray both his principles and his family when he falls in love with Amina, a beautiful and spirited psychotherapist.