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Posts tagged as “Bert Williams”

Authors N.K Jemisin and Jacqueline Woodson Among 2020 MacArthur “Genius” Fellows Awarded $625K Grant

Authors N.K Jemisin and Jacqueline Woodson Among 2020 MacArthur “Genius” Fellows Awarded $625K Grant

By goodblacknews on October 11, 2020

[Top L to R: Monika Schleier-Smith, Ralph Lemon, N.K. Jemisin, Jacqueline Woodson; Bottom L to R: Fred Moten, Cécile McLorin Salvant, Catherine Coleman Flowers, Tressie McMillan Cottom and Thomas Wilson Mitchell; photos courtesy macfound.org]

Every year, the MacArthur Fellows Program awards its recipients a $625,000 “no strings attached” grant, an investment in a person’s originality, insight, and potential so they may continue to “exercise their own creative instincts for the benefit of human society.”

In 2020, nine of the 21 “geniuses” that have been selected are Black. Among them are award-winning author N.K. Jemisin who wrote the science fiction series The Broken Earth Trilogy, and Jacqueline Woodson, who wrote the young adult books Brown Girl Dreaming and Harbor Me, among others.

Sociologist Tressie McMillan Cottom, artist Ralph Lemon, environmental activist Catherine Coleman Flowers, law scholar Thomas Wilson Mitchell and experimental physicist Monika Schleier-Smith are among the other 2020 MacArthur Fellows. A full list and brief bios follow below:

N. K. Jemisin is a speculative fiction writer exploring deeply human questions about structural racism, environmental crises, and familial relationships while immersing readers in intricately imagined, fantastical worlds. The societies she constructs are populated by protagonists who push against the conventions of earlier-era science fiction and epic fantasy, which often feature male-dominated casts of characters and draw heavily from the legends of medieval Europe. Her multi-volume sagas counterbalance the monumental themes of oppression and exploitation with attentiveness to the more intimate inner workings of families and communities and the range of emotions—from love to rage, resentment to empathy—that they inspire.

Jemisin’s most recent novel, The City We Became (2020), is the first in what will become her Great Cities series and features present-day New York not only as its setting but also as a sentient entity itself. Invading and homogenizing forces threaten the metropolis she depicts and must be fended off by a team of human avatars—comprised primarily of people of color, male and female, queer and straight—who embody the diverse histories and distinct personalities of the city’s boroughs. The novel dramatizes the city’s own legacies of racism and both references and critiques the xenophobic and racist views of H. P. Lovecraft, whose horror fiction has had a profound impact on popular culture.

Jacqueline Woodson is a writer redefining children’s and young adult literature in works that reflect the complexity and diversity of the world we live in while stretching young readers’ intellectual abilities and capacity for empathy. In nearly thirty publications that span picture books, young adult novels, and poetry, Woodson crafts stories about Black children, teenagers, and families that evoke the hopefulness and power of human connection even as they tackle difficult issues such as the history of slavery and segregation, incarceration, interracial relationships, social class, gender, and sexual identity.

In the picture book Show Way (2005), also a picture book, Woodson tells the story of a quilt that was passed down through generations from enslaved ancestors who stitched the route to freedom on the quilt. Through sympathetic and convincingly developed characters and spare, poetic writing, Woodson portrays the search for self-definition and self-acceptance in which young readers are actively engaged.

In Harbor Me (2018), Woodson employs a unique structure: the text of the novel is ostensibly derived from recordings of weekly conversations among six middle school classmates from various racial and socioeconomic backgrounds. The conceit of the recordings allows the reader to intimately witness the characters’ efforts to confront their fears, biases, and confusion around topics like racial profiling, deportation, and incarcerated parents.

Tressie McMillan Cottom is a sociologist, writer, and public scholar shaping discourse on pressing issues at the confluence of race, gender, education, and digital technology. In work across multiple platforms, ranging from academic scholarship to essays and social media engagement, McMillan Cottom combines analytical insights and personal experiences in a frank, accessible style of communication that resonates with broad audiences within and outside of academia.

In her book-length study of for-profit colleges, Lower Ed: The Troubling Rise of For-Profit Colleges in the New Economy (2017), McMillan Cottom explores the rapid growth of these institutions in the context of rising inequality in the United States. The book has reverberated amongst educators and policymakers and has influenced recent policy debates about the racial, gender, and class inequalities of educational institutions.

Earliest Surviving Footage for a Feature Film with a Black Cast to Be Exhibited by Museum of Modern Art

By goodblacknews on September 23, 2014
Footage from what may be the earliest surviving feature film with a black cast, made in 1913. (Credit: Bert Williams, “Lime Kiln Field Day Project”, via Museum of Modern Art)

For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.

MoMA plans an exhibition around the work called “100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History,” which is to open on Oct. 24 and showcase excerpts and still frames. Sixty minutes of restored footage will be shown on Nov. 8 in the museum’s annual To Save and Project festival dedicated to film preservation.

“There are so many things about it that are amazing,” said Jacqueline Stewart, a film scholar at the University of Chicago. “It’s the first time I’ve seen footage from an unreleased film that really gives us insights into the production process.”

She added: “It’s an interracial production, but not in the way scholars have talked about early film history, in which black filmmakers had to rely on the expertise and money of white filmmakers. Here, we see a negotiation between performers and filmmakers.” Of the three directors of the film, one was black and two were white.