In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Ep 73: Carole Lombard in Bolero (1934)
Manage episode 268738717 series 2163848
Content provided by Sass Mouth Dames. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Sass Mouth Dames or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
Dancing was often used as a stand-in for sex on the big screen, as it was for Ginger Rogers and Fred Astaire, but when Carole Lombard and George Raft move to Ravel, it *is* sex on the dance floor. Their ecstasy makes Bolero (1934) the filthiest pre-Code on record. Sally Rand performs her famous fan dance to add to the lusty flavour of the picture. Ray Milland appears in his first film with Paramount.
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Manage episode 268738717 series 2163848
Content provided by Sass Mouth Dames. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Sass Mouth Dames or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
Dancing was often used as a stand-in for sex on the big screen, as it was for Ginger Rogers and Fred Astaire, but when Carole Lombard and George Raft move to Ravel, it *is* sex on the dance floor. Their ecstasy makes Bolero (1934) the filthiest pre-Code on record. Sally Rand performs her famous fan dance to add to the lusty flavour of the picture. Ray Milland appears in his first film with Paramount.
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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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