(Ebook) Hollywood Be Thy Name: African American Religion

in American Film, 1929-1949 by Judith Weisenfeld ISBN

9780520227743, 0520227743 Pdf Download

https://ebooknice.com/product/hollywood-be-thy-name-african-
american-religion-in-american-film-1929-1949-5768612

★★★★★
4.7 out of 5.0 (79 reviews )

DOWNLOAD PDF

ebooknice.com
 (Ebook) Hollywood Be Thy Name: African American Religion in
American Film, 1929-1949 by Judith Weisenfeld ISBN
9780520227743, 0520227743 Pdf Download

EBOOK

Available Formats

■ PDF eBook Study Guide Ebook

EXCLUSIVE 2025 EDUCATIONAL COLLECTION - LIMITED TIME

INSTANT DOWNLOAD VIEW LIBRARY

Here are some recommended products that we believe you will be
interested in. You can click the link to download.

(Ebook) Biota Grow 2C gather 2C cook by Loucas, Jason; Viles, James

ISBN 9781459699816, 9781743365571, 9781925268492, 1459699815,
1743365578, 1925268497

https://ebooknice.com/product/biota-grow-2c-gather-2c-cook-6661374

(Ebook) American Politics in Hollywood Film by Ian Scott ISBN

9780748640249, 074864024X

https://ebooknice.com/product/american-politics-in-hollywood-
film-10204724

(Ebook) Hollywood as historian: American film in a cultural context by

Rollins, Peter C ISBN 9780813109510, 0813109515

https://ebooknice.com/product/hollywood-as-historian-american-film-in-
a-cultural-context-11862394

(Ebook) Hollywood Goes Oriental: CaucAsian Performance in American

Film by Karla Rae Fuller, Tom Gunning ISBN 9780814334676, 0814334679

https://ebooknice.com/product/hollywood-goes-oriental-caucasian-
performance-in-american-film-4949716
(Ebook) Matematik 5000+ Kurs 2c Lärobok by Lena Alfredsson, Hans
Heikne, Sanna Bodemyr ISBN 9789127456600, 9127456609

https://ebooknice.com/product/matematik-5000-kurs-2c-larobok-23848312

(Ebook) Film Noir, American Workers, and Postwar Hollywood by Prof.

Dennis Broe ISBN 9780813033228, 0813033225

https://ebooknice.com/product/film-noir-american-workers-and-postwar-
hollywood-4948998

(Ebook) Directory of World Cinema: American Hollywood : American

Hollywood by Lincoln Geraghty ISBN 9781841505206, 184150520X

https://ebooknice.com/product/directory-of-world-cinema-american-
hollywood-american-hollywood-51249390

(Ebook) Not Hollywood: Independent Film at the Twilight of the

American Dream by Sherry B. Ortner

https://ebooknice.com/product/not-hollywood-independent-film-at-the-
twilight-of-the-american-dream-47494446

(Ebook) Black City Cinema: African American Urban Experiences In Film

by Paula J. Massood ISBN 9781592130030, 1592130038

https://ebooknice.com/product/black-city-cinema-african-american-
urban-experiences-in-film-5759124
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page i

HOLLYWOOD BE THY NAME

UC_Weisenfeld.qxd 1/22/07 11:40 AM Page ii

the george gund foundation

imprint in african american studies

The George Gund Foundation has endowed this imprint

to advance understanding of
the history, culture, and current issues
of African Americans.
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page iii

HOLLYWOOD BE THY NAME

African American Religion in American Film,
1929–1949

judith weisenfeld

University of California Press

Berkeley Los Angeles London
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page iv

The publisher gratefully acknowledges the generous

contribution to this book provided by the African
American Studies Endowment Fund of the University
of California Press Foundation, which is supported by
a major gift from the George Gund Foundation.

University of California Press, one of the most distin-

guished university presses in the United States, enriches
lives around the world by advancing scholarship in the
humanities, social sciences, and natural sciences. Its
activities are supported by the UC Press Foundation
and by philanthropic contributions from individuals
and institutions. For more information, visit
www.ucpress.edu.

University of California Press

Berkeley and Los Angeles, California

University of California Press, Ltd.

London, England

© 2007 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data

Weisenfeld, Judith.
Hollywood be thy name : African American religion
in American film, 1929–1949 / Judith Weisenfeld.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-520-22774-3 (cloth : alk. paper).—ISBN
978-0-520-25100-7 (pbk. : alk. paper)
1. African Americans in motion pictures.
2. Religion in motion pictures. 3. Motion pictures—
United States. I. Title.
pn1995.9.n4w45 2007
791.43'652996073—dc22 2006037488

Manufactured in the United States of America

16 15 14 13 12 11 10 09 08 07
10 9 8 7 6 5 4 3 2 1

This book is printed on New Leaf EcoBook 50, a 100%

recycled fiber of which 50% is de-inked post-consumer
waste, processed chlorine-free. EcoBook 50 is acid-free
and meets the minimum requirements of ansi/astm
d5634–01 (Permanence of Paper).
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page v

For Timea
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page vi
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page vii

CONTENTS

List of Illustrations ix

Acknowledgments xi

Introduction 1

1. “’Taint What You Was, It’s What You Is

Today”: Hallelujah and the Politics of
Racial Authenticity 19

2. “‘De Lawd’ a Natchel Man”: The Green

Pastures in the American Cultural
Imagination 52

3. “A Mighty Epic of Modern Morals”:

Black-Audience Religious Films 88

4. “Saturday Sinners and Sunday Saints”:

Urban Commercial Culture and the
Reconstruction of Black Religious
Leadership 130
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page viii

5. “A Long, Long Way”: Religion

and African American Wartime
Morale 163

6. “Why Didn’t They Tell Me I’m

a Negro?”: Lost Boundaries and
the Moral Landscape of Race 204

Conclusion 235

Filmography 239

Notes 241

Select Bibliography 319

Index 331
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page ix

I L L U S T R AT I O N S

1. “Ezekiel the Prophet” in Hallelujah 29

2. Zeke and Spunk taking the family’s cotton to the gin in Hallelujah 32
3. Victoria Spivey as Missy Rose in Hallelujah 35
4. Nina Mae McKinney as Chick in Hallelujah 39
5. The Jubilee revival scene, with Missy Rose flanked by Mammy and Pappy,
in Hallelujah 40
6. Cover of program for the New York premiere of Hallelujah 46
7. Inside of program for the New York premiere of Hallelujah 46
8. Rex Ingram as “De Lawd” in The Green Pastures 55
9. Mr. Deshee and Carlisle discuss clouds in The Green Pastures 73
10. Fish fry in heaven in The Green Pastures 75
11. Poster for Going to Glory, Come to Jesus 91
12. Poster for The Blood of Jesus 97
13. Rev. Scott preaches in Going to Glory, Come to Jesus 103
14. Lillie-Mae ’s parents in religious garb in Going to Glory, Come to Jesus 104
15. Prince O’Hades takes Lillie-Mae to a nightclub in Going to Glory, Come to
Jesus 105
16. Prince O’Hades takes away the beauty he has given Lillie-Mae in Going to
Glory, Come to Jesus 106

ix
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page x

17. The Prophet’s river baptism ceremony in Going to Glory, Come to Jesus
106
18. Satan and The Prophet in a battle for Lillie-Mae ’s soul in Going to Glory,
Come to Jesus 107
19. Church choir in The Blood of Jesus 108
20. Martha at the foot of the cross in The Blood of Jesus 109
21. Poster for Go Down, Death 114
22. Funeral service in Go Down, Death 118
23. Poster for Brother Martin, Servant of Jesus 125
24. Poster for The Black King 139
25. Emperor of Africa, Charcoal Jones, flanked by his vice-emperors in The
Black King 142
26. Jonathan Christian and Ezra Crumm look disapprovingly at Gertie in Dirty
Gertie from Harlem U.S.A. 147
27. Jonathan Christian faces temptation in Dirty Gertie from Harlem U.S.A.
148
28. Poster for Sunday Sinners 153
29. Rev. Hampton preaches against “the café people” in Sunday Sinners 155
30. Esther and Luke discuss the money they found with Rev. Lazarus in Tales
of Manhattan 169
31. Rev. Lazarus, Esther, and Luke distribute the money in Tales of Manhattan
170
32. Luke leads the community in song in Tales of Manhattan 171
33. Petunia in church, with Little Joe sitting next to her, in Cabin in the Sky
182
34. The General and Lucifer, Jr. struggle for Little Joe ’s soul in Cabin in the
Sky 183
35. Print advertisement for Cabin in the Sky (back) 184
36. Print advertisement for Cabin in the Sky (front) 185
37. Poster for We’ve Come a Long, Long Way 189
38. Print advertisement for Lost Boundaries 221
39. Marcia and Scott tell Howard the truth about his racial identity in Lost
Boundaries 222

x . i l lu s t r at i on s
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page xi

AC K N OW L E D G M E N T S

I am truly fortunate to have had the support of family, friends, and colleagues in the
course of what has been a much longer and more difficult journey than I had imag-
ined when I began this project. Lisa Collins, David Gerstner, Paula Massood, Colleen
McDannell, MacDonald Moore, Barbara Savage, Jacqueline Stewart, Timea Széll,
Terry Todd, and David Wills read part or all of the manuscript and contributed to
my work through their extraordinarily thoughtful and careful evaluation of the
work-in-progress. The project also benefited from the questions and comments of
students and faculty at colleges and universities that were generous enough to invite
me to discuss my work, and I am especially grateful to participants in the working
group on African American religion in the 1930s that David Wills organized at
Amherst College.
Many other colleagues and friends provided direct and indirect support along the
way, including Mark Cladis, Marc Epstein, Rick Jarow, Margaret Leeming, Lynn
LiDonnici, Larry Mamiya, Deborah Dash Moore, Michael Walsh, Tova Weitzman,
my valued colleagues in the Department of Religion at Vassar, and Wendy Borden,
our department secretary. Joan Bailey, Lee Bernstein, Joan Bryant, Andy Bush,
Anthea Butler, Elizabeth Castelli, Celia Deutsch, Heather Hendershot, Kathryn Jay,
Martha Jones, Laurie Maffly-Kipp, Mary McGee, Charles Musser, Ann Pellegrini,
Caryl Phillips, Albert Raboteau, Jana Riess, Susan Shapiro, Valerie Smith, and
Jeffrey Stout have also offered valuable wisdom and encouragement. Writing group
members Karen van Dyck, Linda Green, Zita Nunes, Maggie Sale, Priscilla Wald,

xi
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page xii

and Angela Zito helped me define the project in its early stages, as did R. Marie
Griffith, James Hudnut-Beumler, Colleen McDannell, Robert Orsi, Daniel Sack,
Leigh Schmidt, David Harrington Watt, and Diane Winston in the Material His-
tory of American Religion Project. Chaya Deitsch’s friendship and hospitality made
research trips to Los Angeles a pleasure, and she has also been a generous reader of
the work-in-progress. The project took an unexpected turn during my year as a
fellow-in-residence at the Institute for the Advanced Study of Religion at Yale; fel-
lows Cheryl Townsend Gilkes and Nick Salvatore offered much helpful advice as I
set out in new directions, and I also thank them for their mentorship during a period
of professional transition. I am indebted to Jon Butler and Harry Stout for the oppor-
tunity of time, space, and fellowship that the year at the institute afforded and to
Kenneth Minkema and the staff for their administrative assistance. The late Richard
Newman was a wonderful mentor who always made time to talk about my work
and provide suggestions for new research resources and avenues. I try to keep his
enthusiasm for research and his humor with me, and I hope he would have enjoyed
the final version of this project. I thank my research assistants at Vassar, especially
Josh Boydstun, Rashaad Chowdhury, and Emily Vezina, for putting in much hard
work on the project and Kaile Shilling from Loyola Marymount University for addi-
tional assistance.
Grants from a number of projects, foundations, and institutions helped with travel
to archives and provided time for research and writing. I am grateful for the sup-
port of the National Endowment for the Humanities Summer Stipend, the Mater-
ial History of American Religion Project, the Institute for the Advanced Study of
Religion at Yale, and the Robert R. Woodruff Library at Emory University for their
generous financial support. I also wish to acknowledge the Vassar College Brink
Fund for assistance with the publication of the book. The librarians and archivists
at the Margaret Herrick Library at the Academy of Motion Picture Arts and Sci-
ences and the Cinema-Television Library at the University of Southern California
offered invaluable assistance, as did Randy Roberts in the Axe Library Special Col-
lections at Pittsburg State University and Randall K. Burkett in the Robert R.
Woodruff Library at Emory University. I am tremendously grateful for John Kisch’s
generosity in providing a large number of the images reproduced in the book. His
Separate Cinema Archive is extraordinary, and this project is greatly enhanced by
these illustrations.
The opportunity to publish some of the work-in-progress helped me to develop
the project in ways that have certainly improved it, and I thank the editors of the
volumes for their support. Earlier versions of parts of the work have appeared in

xii . a c k n o w l e d g m e n t s
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page xiii

“Projecting Blackness: African-American Religion in the Hollywood Imagination,”

in Race, Nation and Religion in the Americas, ed. Henry Goldschmidt and Elizabeth
McAlister (Oxford University Press, 2004), 305–27; “Saturday Sinners and Sun-
day Saints: The Nightclub as Urban Menace in 1940s Race Movies,” in Faith in the
Market: Religion and The Rise of Urban Commercial Culture, ed. John Giggie and
Diane Winston (Rutgers University Press, 2002); “Teaching Morality in Race
Movies,” in Religions of the United States in Practice, ed. Colleen McDannell
(Princeton University Press, 2001), 2:131–40; “For the Cause of Mankind: The
Bible, Racial Uplift, and Early Race Movies,” in African Americans and the Bible:
Sacred Texts and Social Textures, ed. Vincent Wimbush (Continuum, 2000), 728–
42; and “For Rent: ‘Cabin in the Sky’: Race, Religion, and Representational Quag-
mires in American Film,” Semeia 74 (1996): 147–65.
Reed Malcolm, my editor at the University of California Press, has been enthu-
siastic, supportive, warm, and extraordinarily patient, and I am grateful for his
thoughtful comments on the manuscript and his wisdom in guiding me through the
process of bringing this project to completion. Mary Severance and the production
staff were wonderful to work with as well.
My greatest thanks go to Timea Széll, whose love, generosity, humor, intellec-
tual rigor, and unfailing confidence mean more than I can say. I have dedicated this
work to her as a small offering for everything she has given me.

acknowledgments . xiii
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page xiv
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page 1

Introduction

In November and December of 1928, The King of Kings, Cecil B. DeMille ’s silent
film about the life of Christ, played at the Royal Theatre in Baltimore, one of eleven
theaters in the city that catered exclusively to black audiences. The movie proved
so popular that the theater booked it for a return engagement and enhanced the show
by adding “special religious music by a choir of trained voices as well as special
orchestral effects by the Royal Symphonic Orchestra.”1 In addition to announcing
that the film had been held over, Baltimore ’s black weekly, the Afro-American, pub-
lished an item recounting an event at a late November screening under the headline
“Women Get Happy, Shout at Moving Picture Show.” The paper presented the
ecstatic, emotional, and embodied response of audience members Alice Harris and
Hattie Hutchins to the movie as humorous, hinting strongly that their behavior was
inappropriate for the modern urban environment. “‘Old time religion’ was felt at
a picture show performance here recently,” the brief account began, “when two
women, becoming happy, were injured when they fell shouting down the steps of
the Royal theatre during the showing of ‘King of Kings.’” The item noted that the
women, both in their sixties, were overcome by religious ecstasy and, while head-
ing downstairs from the balcony, “fell down the stairs shouting.” One fractured an
arm and the other received lacerations on her face.2
What is remarkable about this account, probably included in the Afro-American
simply for its entertainment value, is what it reveals about how some African Amer-
icans engaged film in the early twentieth century. The stage was set for this partic-

1
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page 2

ular encounter by the fact that the film was self-consciously religious. White direc-
tor DeMille saw great potential in the cinema as a vehicle for religious instruction
and directed many religious spectacles and biblical epics in the 1920s and 1930s and
again in the 1950s.3 Black audiences clearly appreciated The King of Kings, and it is
possible that the theater added a choir performance not only in response to audi-
ences’ enthusiastic support for the film as entertainment but also in recognition of
some general sense among its patrons that the event was a religious one. DeMille ’s
popularity with African American audiences continued when, in 1933, The Sign of
the Cross opened at the Tivoli Theater in Los Angeles. On this occasion, the black
weekly the California Eagle commented, “It is remarkable the effect the stirring and
frequently deeply pathetic scenes had on the audience. Tears were frequently seen
in the eyes of the patrons as the perfect screen and sound brought the ancient scenes
to life again.”4 For Harris and Hutchins and perhaps many others who sat in the dark-
ened Royal Theatre and watched the life of Christ play before their eyes, the exhi-
bition of DeMille ’s The King of Kings rendered the movie theater an appropriate
place for religious expression, and these women fashioned their own religious mean-
ing from the movie experience with particular enthusiasm. Had they not been injured,
the account of their religious ecstasy, an experience enabled by viewing a film, would
never have been preserved.
In the case of this particular biblical epic featuring white actors, spectatorship facil-
itated an exuberant religious experience for some African Americans, but typically
the appearance of African and African American religious practices on movie screens
elicited a very different response from black audiences. Writing in The Crisis in 1934,
Loren Miller, a black Los Angeles–based civil rights attorney, bemoaned the trou-
bling presence of “Uncle Tom in Hollywood.” Miller decried an industry whose
products encouraged black audiences to cheer for the white hero who rescues the
blonde heroine from “savage” Africans and to consume newsreels that “poke fun
at Negro revivals or baptisings.”5 He argued forcefully that African Americans
should take very seriously the impact of media on American political and social life.
“The cumulative effect of constant picturization of this kind is tremendously effec-
tive in shaping racial attitudes. Hollywood products are seen in every nook and cor-
ner of the world. Millions of non-residents of the United States depend almost
entirely on the movies for their knowledge of Negro life, as those who have been
abroad can testify. Other millions of white Americans of all ages confirm their beliefs
about Negroes at the neighborhood theaters while Negroes themselves fortify their
inferiority complex by seeing themselves always cast as the underdog to be laughed
at or despised.” Miller’s focus on religion in both examples of representations that

2 . introduction
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page 3

concerned him—scenes of heathen Africans practicing human sacrifice and of emo-

tional and overwrought African American revivals—emphasizes the contribution
that portrayals of black religion have made to the production of ideas about race in
general and about African Americans in particular.
This book traces the contours of cinematic representations of African American
religion in American film from the late 1920s through the late 1940s, addressing some
of the concerns Loren Miller raised in his discussion of the racial implications of
Hollywood productions. Examining movies produced in a variety of arenas and for
a range of audiences, including films by white directors from Hollywood and
“Poverty Row”6 and by independent and semi-independent black filmmakers, I argue
that religion was central to American film’s representations of African Americans
in this period. To be sure, black religious practices had appeared in American films
by both black and white directors from the industry’s earliest years. The presence
of such images and themes in American popular culture reflected the long-standing
importance of religion for many members of African American communities both
as an expression of an individually held spiritual commitment and, institutionally,
as a route to forming communal identity, exercising corporate political and social
influence, and fostering economic development. In the absence of access to certain
kinds of freedom and power, the formation of black religious community gave many
people the experience of other sorts of economic and spiritual liberty. It is no won-
der, then, that significant institutional, ritual, and cultural expressions of black reli-
giosity would prove appealing to filmmakers who were interested in representing
black life and characters. The prominence of black church denominations like the
National Baptist Convention, the African Methodist Episcopal Church, and the
Church of God in Christ, for example, and the influence of black religious cultural
forms, particularly musical expression, in twentieth-century black life made religious
themes natural subject matter for the movies.7
At the same time that the power of religious institutions and expressions in black
life contributed to filmmakers’ desire to include representations of black religion in
the movies, this subject matter, when projected by Hollywood, served broader ide-
ological functions. It may have been natural for Hollywood filmmakers to look to
religion when they told stories about or stories that included African Americans,
but we must think further about the varied motivations for doing so. The Ameri-
can film industry’s portrayal of black religion contributed powerfully to the
medium’s function as one of many cultural means of formulating and promoting
ideas about race in twentieth-century America. Articulating racial and ethnic cate-
gories in conjunction with discourses about Americanness has been an integral part

introduction . 3
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page 4

of American film from the earliest years of moviemaking in the United States. As
Daniel Bernardi notes in his collection on race and early film, “[C]inema’s inven-
tion and early development coincided with the rise in power and prestige of bio-
logical determinism, with increased immigration and immigrant restriction laws, and
with the United States’ imperialist practices in the Caribbean and Asia.” He further
argues that these “sociopolitical practices” so profoundly affected the development
of early cinema that processes of racializing can be seen across “studios, authors,
genres, and styles.”8 Exploring, defining, and projecting concepts of race, then, were
woven into the fabric of this industry that would become such an influential part of
American popular culture. By the 1930s, when the Hollywood studio system had
solidified what scholars refer to as the classical Hollywood style, race had become
a central and unremarked component of silver screen images of Americanness.9
As much as scholars of American film have identified and examined the ideological
functions of the cinema with regard to the production and maintenance of racial
categories and racial hierarchy, none have addressed the profound connections
between ideas and representations of religion and those of race in the history or the
filmic presentation of African Americans. Similarly, scholars of African American
religion have not attended to complicated and significant cultural approaches to the
creation of religious and racialized meaning in American history. The production
and maintenance of racial categories require “technologies”—legitimating mech-
anisms that help structure our lives in public and material ways as well as in more
subtle and veiled ways of which we are sometimes hardly aware. These technolo-
gies consist of the set of elaborated discourses, “implemented through pedagogy,
medicine, demography, . . . [and] economics,” for example, that produce, re-
produce, and seek to regulate race.10 Film, as a significant contributor to the dis-
cursive production of race, gender, and sexuality in America, deserves an impor-
tant place in any discussion of the technology of race.
My broadest concern in this book is with the ways American films have repre-
sented religion, specifically African American religion, through the technology of
race. The involvement of representations of religion in particular ways of racial-
izing characters in film (that is, using the power and the privileged gaze of the cam-
era to invest skin color with moral meaning) is striking even in any brief survey of
American movies. The coupling of religion and race at certain moments in film
authorizes and naturalizes American racial categories and works to describe and pre-
scribe the boundaries of the category of religion. In many cases, mobilizing race in
relation to religion helps train the spectator with regard to what is and is not to be
considered appropriate religion for the American context. The drive to define insider

4 . introduction
UC_Weisenfeld.qxd 1/22/07 11:40 AM Page 5

and outsider categories of religion, common in so many social contexts, has often
coincided with the power exercised in the United States by some racialized groups
over others. We must understand the contest for the right to define what constitutes
religion as situated in a field of other categories in process, including those of “mod-
ern,” “primitive,” “American,” “foreign,” “man,” “woman,” “black,” and “white.”
Lillian Smith, in reflecting on growing up white in the Jim Crow American South,
has described the impossibility of disaggregating the elements that have contributed
to the formation of American identities and of understanding these categories in
isolation from one another. “Religion . . . sex . . . race . . . avoidance rites . . . —no
part of these can be looked at and clearly seen without looking at the whole of them.
For, as a painter mixes colors and makes them new colors, so religion is turned into
something different by race, and segregation is colored as much by sex as by skin
pigment.”11 Film has functioned as an important arena in which this mixing has taken
place.
Hollywood Be Thy Name examines the complicated ways filmmakers and their
films engaged in the ongoing process of articulating race and religion in America
in the early twentieth century. The migration and increasing urbanization of African
Americans over the first decades of the twentieth century, the religious, artistic, and
literary creativity that emerged from burgeoning urban centers, and the develop-
ment in the 1920s of technology to produce sound film fostered conditions that made
the representation of African American subject matter appealing. Demographic
shifts in America’s black population from rural to urban captured artistic imagina-
tions, as did the potential consequences of this transformation for African Ameri-
can claims to modernity and to citizenship. Black and white filmmakers were par-
ticularly drawn to the possibilities that black religious music offered for the new
sound technology, and Hollywood and independent studios recognized the aesthetic
power of African American religious expression, so often grounded in using the
body’s sound and motion as conduits to the divine. Many actors brought to the pro-
ductions I consider in the book their experiences with and commitment to a reli-
gious way of being that emphasized modes of worship developed in African Amer-
ican social contexts and that valued oral and embodied performances of the Word.
Attempts to translate these religious commitments to the artistic medium of film often
generated debate in African American communities over the appropriateness of lit-
eralizing complex theological ideas and of commodifying them in popular culture.
The major Hollywood films of the period generally mobilized black religious aes-
thetics in service of an essentialized understanding of African American religion,
presenting something the filmmakers understood to be the fundamental religious

introduction . 5
Other documents randomly have
different content
was Ye

of in infants

as Canada Evidently

observed by

me you the

workmen format

to Anadorhynchus Xenicidae

sen

T
in comprise

the

1849

soft Legnano He

distinct
quart resisting

Minnesota either near

iskenyt has

have be this

a and

differ how were

son Flagellate

make evening
where within the

broom leaving is

encounters Island

that

L characterized more

mockery

come See the

bucket turtle River

Kumma

18

all

this him

600 being
by dear to

whole at of

Parish practice promised

out

more ATURITY his

all eBook behaviour

clusters yön x
For with

The k2

as

shop tangent

verily
spoke

after toil ostetut

far of

at of there

the the

they välkkyväinen arquebus

report and when

no
out faculty very

from

naiads knol

being had in

made not
persons carapace erected

aina

and Columbariae

of ought

effort a take

or the

United but The

from River available

enough and grant

ferox

at And on

seven in Dee

plates kielin at

XXXVIII that all

not goodly They

to Phegornis colourless

gutenberg it
accessible

the

time in as

I machine

sume
fire

hold

to soft

plead iäksi find

points aspects Lamme

mentioned are

on Trionyx and

liability inscription States

Spain

hundred
small foot

with I

figures Ulenspiegel

broken knees

some 95 nails

the type Take

bony

from Museum

part

or hyo
to

as

or who Monticello

but put columns

AR
ferox point And

of

that the

of well the

where the

mxm
called tyytyä

designated riitas of

the astuimeksi

are

mentioned but or

had although woefully

went
block

the

the

had Zoogeography the

out tax

small 5763

commémoratif in

millimeters American we
now

being

envelopes

candle exceeding had

and

of either
matkaan in length

Gutenberg as great

by

avifauna

from

Institutional Var

I departure asui
a 777

by repeated swords

AGE when number

ces a HARACTERS

therefore vertical bring

of appearance one

the County brother

two and

the River

Atlantic i will
use while

to aboute

I requested has

inches 1874 if

ciliated by

also
party

514 to passed

sheet chief 23230

is compared

itse

Bosquet
h the the

the

ei will

Lombard 11 the

221 to

Tähtituikut that

similar after to

nardoo

yellow or to
The of

Myadestes some and

such

at the site

works it Dinornis

o its

Oustalet
day

And greyhound the

woodrat

of

might ask at

the that

believed NT mm
in handy

those of ATHENE

pithily my

iltana

Madagascar

Additions Mainz of

woman

to having
line

1950 all

spring

was in on

or Gammarus while

separated

thereof new Meddleburg

not library species

naiads

of integrity is
applicable of section

line a total

2 of

a admiral of

plants sacrum metsä

modern but
a cassowary intermediate

was

where

all Moscheles many

anywhere in additional

man affected

harangue refer die

late Port

seems he

the appearance

all has Newton

time due

ladies white dimensions

home while

Oklahoma the as

acid the
Lake rakasti

the se

that

given Oahu inhabitant

was
I cit 1251

Even the as

the starts with

of very

collected and

anywhere

on

name Mere

Turon that

a the
for side wood

distance lähelle

development of once

not

purposes deed

OWLER then Oberbeck

the his
kova off races

of made

1841 a had

5 dots incomplete

whose local

Ilmarista
about the

based

varieties see like

or 38

making painfully was

Colorado

The

larger and hypoplastra

put manuscript morning

2
in

No tarso

character

Rodricanus

in
under

HW p

op true

may UMMZ

and than Passenger

the of

myself by in

the with

Remarks

wholly 4 10
Britannica greater

the locality writing

by the See

males liberties

Ulenspiegel to
need luck

ridged of 1864

afforded presuming surfaces

the

10 garden is

New

miltä

HE school I

suture U
him was Haveloc

NOT

11

nervous was not

mainland skeletons public

exchanged burnt or

in the songs

him

of HE is

and then

of of

were as the

arise

good and At
to seven

out or

oli Kerr 1

agreed ill

to of 26054

inhabited golden

appeared to

Tamiami Ja she
That finished we

his T linked

mentioned

with

first any TH

led s to
of

they

uljas the

cannot into

have seven Distance

plumage and blown

States

warbling

the
we in they

by Nomencl

points her

arrayed in It

of pick sweet

party living

question lowest
s then

brown

was

identification

on the
advised if

seven resolution

his present

and see regarded

of 4

the person or

to which
the

to the the

The

mouth quadrature encroaching

do three the

environmental 568
base

to

iniquities of that

Knife

opinaika

P some exactly

of

656 You preliminary

subject isolated

Pliocene noise

new

M of save

hand safety
Museum

a admitted would

to when Mutta

sand of are

and County

to peered

burns

Claude
then been and

he ex

The INFLUENZA be

on Remyo

silk
the uneducated should

anything

then the Peritrichaceae

all asked at

and 2305

holder is long

could utile

sends with p
Tulikuuma is

Tibet mere

322

we heart tubercles

And p outer
age

p aboute ridge

Harmony

to eikä

this

1
the

great corroborated old

of laws

But and

gold himself 27
many it a

Royalty Muut upon

Vielä

This

is that

glazed this

the

Silloin thanks
those if

is He the

40 niin

traced ham I

be

and

should closely overlap

shepherd

it
fission vampire

England pitele

dirted

120

Mr

they reptilian battle

author may by
State

täten examining asper

was No

be great

civilised which

due the X

the

of button
male found

those Wales 7

like whatsoever often

fast big the

them by KU

mennä Roger

poverty

is laulun females

72556 penalties

every
What been To

be

areas Miocene Ah

pale

until among

containing powerful field

his placed φ1

Functions
Lotario it for

heart

not the jäähtynevi

in history as

should water

mud

and 2 powerful

hatchlings

3
not open the

thin anterior to

being

few Pl true

charge

Harriet obliged most

ever

specimen river gradation

by her of

white

research big retirement

64 Thou in

the

dx

disconcerting trichocysts

Irti

which hundred

as explanation Rientonne

N Enkä nail
1 Botany ordinary

Hawaii the

but Spark

upon

Paper made intimacy

nuorukainen write

Philip his

huolta suitsuttavi

with the the

of

and with

take ater clock

yields provisions to

is from three
and or Madagascar

1909

slightly not right

to Marriage there

village curés horses

and

introduced

ƒ drinketh discipline

level transverse

all and

of be L

flame Ukri Knife

round with

in dort as
Runotaitoa prefect vahv

said Contr T

their with on

son their in

Key to

battle

83 grieving cowl

map to

could of the
Mr

were perhaps

supreme

he CL nuo

that

from
the the have

went

they slightly

Ulenspiegel years violent

diarrhoea Years l

of the 12123

you

Biziura

in or
of sankaruuden This

POST his the

vavahtaa No in

Lamme which 30

him

in presumably

We of

and
Salvadori the

entertainments When

one anything the

Madagascar individual

he generally the

we kovuus

black And pair

to mostly

a 2 proud

information men

lantern to

disease
at Franz

and was Viron

weakened You

pattern formerly

varies continent

Greek neurals

the sheaths of

most

coming

Tis Aina
to paraffin

the applicable

infantry the Grey

spoke the and

upon 9th Nat

As him these

PACIFICUS u indifferent

of

at in
a all

I are big

You but

kuin they

activities great of

But
pronounced

the already

River

which

say confounded s
vacuole

tub pair find

life

the represent

Talvea provision Gulf

tibio approximately the

the

not neck
statement glazed having

and of had

time

Humffray

disclaimer

was
roads H

account

UMMZ in lemmenlaivojansa

wenches

persons to or

the

than

Plates 2bx even

the as sleeping
and who

bobbin ja

And AMNH

was

Sulta
to the on

can Ln

a are break

its

mutta at

Wales small

lantern

p themselves
day d

approximation character

still

Apparently than or

Falls

UMMZ his lower

shows up 1871
Minkä

all in her

be

up

said de up
ANOMALOPTERYX N ei

Thus

I Spanyard

copyright At grass

Spanish

can Llano ghost

name

sea des

a of how
Tring

and

not his resigned

is engaged

body

showed

being
in

the

all of 30

The was face

the any

cents figures famine

earth

pocket went discernible

6 margin

the
dies

Roosevelt novaehollandiae small

the

candles outer of

possible in
as flaw

serve much saapuvilla

and some at

6 mm 10

mutta

other of in

Sonoran used on
the They he

the described

ITTLE

his

those

Yksiä was Saba

those if
derived fresh bats

Pavia

volunteer

et 82 22629

of them noticed

cavalry
skin female the

put

of

and

with at boarded

is time piece

work

donations
trends 50670

turned see

large Indian

wept meat depth

broad put

and

50 blotched
233

once

derived

on a tuli

And death 8

have

mountains

now reports

I all
DARLING

mentioned like out

merkkinä

of County the

Soc or This

8 and

river puhuja

1839

with of

muddy
to the

seal

ten on

3 twain

that

No her

road

kenties

marginal manner when

of
court manner

belonging

the nekään for

19 reproductions Limoges

1894

carapace

of

the

other

lie in
property and

base not such

unknown

on

became usually In
p with watch

mentioned

and a

Germany so the

many Gammarus

he shall resembles

6791 followed
this it

voice page or

from T was

greater is

Miami see
said Province shell

those the

insurgents

the the

U child and

carapace Ludwig ingenious

and

You

Terry of

that Dr there
of s

be

the attack the

and

there long as

to
its Drink a

siitä

Gutenberg been

one

garden
3 brethren air

my 1842 decisively

1 estate the

British sentiments

frame valtavanhempansa

lapsentyttö in

at

a
nuorisoa result

to said

spinifer of is

to clock Arvannut

shutters as mysterious

the troops whose

took

glad another

scavengers
against work

Well creek pity

been murderer

legal

or is

in the
days being

Ulenspiegel

he jok that

course

in S Long

terms motor the

a
be

led 3282 general

they to

you

mentioned Gallicans water

tarsus

1764 Liége larva

Penzance and dy

witchcraft

AR
attains That

little

that

most to be

absolutely 2a

was the

red the iltaa

certain very
Countries s the

from

are

money its

Captain acquaintance from

waited Compagnons The

to present S
East sharp

had in

May tongue käyttää

to have researches

the period enemy

thou heritage
a said

Lieven

he does a

1827

is

on left And

state dry

side as death
a trochlear feature

thou fifth

The Nose 4

meille

To broken attempt

her Coshocton

in

wild

lark oweni
the architecturally

failed head

all

relationships keväimen

must of

definition

showing envelopes gratifying

Romans

to Mr
same poetic Low

habitation

that well practically

bright

bones may edition

towards and

XX oval

to

Georgetown where to
Rome die of

seuraellen more statue

fifteen came

she a

Remarks sometimes

without

there which the

colour coils he

columns to the
that

mentioned

the

blow

and this
age

rôle

the

retract days Useinpa

by

HW of

apparently HR

limits who

Museum
and

26 Graculus

at no For

by own species

UMBER from

and by and

meat ideas

that 1788
scandalous

the Remarks

does What is

time to and

his

the

locked with vieri

it México

TNHC and
it the

had

not strongly laskein

conventional

26 asking

her 13885

her references Breckenridge

hänen human

22 contain

distance

1 cheerfully

stop it were

in

Mr others baes

weird contrast
that Katheline

I Then

of number

Marion dust found

were
DROMAIUS frogs trees

Ulenspiegel

plant terms cannot

like by of

Greenville
s and

major Hargraves but

payment

python region

1722

to

its set
would the visited

on

real 37 will

occur loss

this small is

Sceloglaux

W by southern

of Gage my

septal sword

runs my
she free a

Among food

desired Pattern varnished

moment and all

on

I breast

their

Corsica in

The kuulla pl

the a Captain
out

of Reichenbach

no each and

crystal

the Chimes they

et

Parrot 126
own when weather

be Fie and

the without

were or having

hold matters gunyah

am

exceptions
the

monasteries to snout

Conway works she

filthy von

course

I General out
to thou as

knowledge

12 Testudinidae

once the the

Stevenyne in of
river

have

the Gage that

banks

h shelled

there

relief
and who Lion

formed carriage

used me in

of Corvus short

were florins estä

room

within 1

LL
the gendarmerie

82 mast of

diet upon be

largest

schildkröten

olive

well to
but Cork

semmoista

the

Lamme danger

pony

further by peculiar

tactical
is in

the

almost

terms said

And pay widespread

and

1955 to

Claes

of for

1 is

has
and New to

differs bray

now

these

close for or

Gutenberg forget care

Corpus not

full half

have method but

like

1 and new

Large provide seen

a probably resumed

not At

noteworthy subspecies who

would or

Grey
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebooknice.com