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Feb 21, 2020 · Hailed as the first major Black filmmaker, Micheaux directed and produced 42 feature films from 1919 to 1948, beginning with 1919’s The Homesteader, adapted from his first novel. His vision...
Although the short-lived Lincoln Motion Picture Company was the first movie company owned and controlled by black filmmakers, [1] Micheaux is regarded as the first major African-American feature filmmaker, a prominent producer of race films, and has been described as "the most successful African-American filmmaker of the first half of the 20th c...
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William D. Foster, sometimes referred to as Bill Foster (1884 – 15 April 1940), was a pioneering African-American film producer who was an influential figure in the Black film industry in the early 20th century, along with others such as Oscar Micheaux.
Feb 26, 2022 · Oscar Micheaux. Public Domain. Oscar Micheaux is regarded as the first major Black American filmmaker for writing, producing, and directing over 44 films between 1919 and 1948. The majority of ...
- “Within Our Gates” (1920) and “Body and Soul” (1925) Director: Oscar Micheaux. No better place to kick off 28 Days of Black Film History than with pioneer Oscar Micheaux.
- “Hell-Bound Train” (1930) and “Heaven-Bound Traveler” (1935) Directors: James and Eloyce Gist. James and Eloyce Gist were African American evangelists who used film as a means of preaching to their traveling ministry.
- “The Blood of Jesus” (1941) and “Dirty Gertie From Harlem USA” (1946) Director: Spencer Williams. Following in the faith-based filmmaking of James and Eloyce Gist, “The Blood of Jesus” also served up a religious tale that crossed into surreal territory complete with a devil and an angel fighting over a dying woman’s soul, and Christ speaking from the cross.
- “Integration Report 1” (1960), “A Tribute to Malcolm X” (1967), “I Am Somebody” (1970) Director: Madeline Anderson. I had wanted to find Black filmmakers from every decade but I couldn’t find any of note in the 1950s.
Oscar Micheaux, the first African-American to produce a feature-length film (The Homesteader (1919)) and a sound feature-length film (The Exile (1931)), is not only a major figure in American film for these milestones, but because his oeuvre is a window into the American history and psyche ...
In particular, as Henry T. Sampson [1] writes, he “also saw an opportunity to make films that countered the objectionable racial stereotypes so prevalent in motion pictures being made by white film companies and being shown in the black theaters.” Foster had been living and working in New York City as a paddock man, a clocker, and ...
