Sidney Poitier: Man, Actor, Icon

By Aram Goudsouzian | Go to book overview

NOTES

Abbreviations

CBFSC     Celeste Bartos Film Study Center, Museum of Modern Art, New York, New York

CTL     Cinema and Television Library, University of Southern California, Los Angeles, California

ELL     Eli Lilly Library, Indiana University, Bloomington, Indiana

HTC     Harvard Theatre Collection, Cambridge, Massachusetts

MHL     Margaret Herrick Library, Motion Picture Academy of Arts and Sciences, Los Angeles, California

MPSVB     Motion Picture, Sound, and Video Branch, National Archives, College Park, Maryland

MTR     Museum of Television and Radio, New York, New York

NYPLPA     New York Public Library for the Performing Arts, New York, New York

SCRBC     Schomburg Center for Research in Black Culture, New York Public Library, New York, New York

UCLA     Special Collections, University of California–Los Angeles, Los Angeles, California

UCLA Arts     Arts Special Collections, University of California–Los Angeles, Los Angeles, California

WBC     Warner Brothers Collection, University of Southern California, Los Angeles, California

WSHS     Wisconsin State Historical Society, Madison, Wisconsin


Introduction

1. “Sidney Poitier: The Defiant One”; Variety, 23 August 1967.

2. Report of the United States National Advisory Commission on Civil Disorders; Weisbrot, Freedom Bound, 264–65; Vari ety, 12 July 1967; Pittsburgh Courier, 26 July 1967.

3. Atlanta Journal, 15 August 1967; Pittsburgh Courier, 26 August 1967; New York Times, 15 August 1967, 19 August 1967.

4. Lerone Bennett Jr., “Hollywood’s First Negro Movie Star,” Ebony, May 1959, 100. On Poitier’s career, see Keyser and Ruszkowski, Cinema of Sidney Poitier; Marill, Films of Sidney Poitier; Kelley, “Evolution of Character Portrayals”; Cripps, Making Movies Black, 250–94.

5. On Poitier’s life, see Poitier, This Life; Poitier, Measure of a Man; Ewers, Long Journey; Hoffman, Sidney; Bergman, Sidney Poitier.

6. On black film, see Cripps, Slow Fade to Black; Bogle, Toms, Coons, Mulattoes, Mammies, and Bucks; Leab, From Sambo to Superspade; Reid, Redefining Black Film; Diawara, Black American Cinema; Guerrero, Framing Blackness; Mapp, Blacks in American Films; Nesteby, Black Images in American Films; Null, Black Hollywood.

-397-

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Sidney Poitier: Man, Actor, Icon
Table of contents

Table of contents

  • Title Page ii
  • Contents ix
  • Acknowledgements xi
  • Introduction 1
  • Part I - Poverty and Progress 5
  • Chapter 1 - Patches (1927–1943) 7
  • Chapter 2 - Great Migrations (1943–1945) 25
  • Chapter 3 - Stages (1945–1949) 43
  • Part II - Race Man 61
  • Chapter 4 - Message Movies (1949–1952) 63
  • Chapter 5 - Black Lists (1951–1954) 84
  • Chapter 6 - Threats (1955–1957) 103
  • Chapter 7 - Noble Savages (1956–1957) 123
  • Part III - Black Man's Burden 143
  • Chapter 8 - Decisions (1957–1959) 145
  • Chapter 9 - Burdens (1959–1961) 167
  • Chapter 10 - Blues (1960–1962) 189
  • Chapter 11 - Long Journeys (1963–1964) 208
  • Part IV - Alone in the Penthouse 229
  • Chapter 12 - Crossroads (1965–1966) 231
  • Chapter 13 - Useful Negroes (1966–1967) 253
  • Chapter 14 - Last Hurrahs (1967–1968) 277
  • Part V - Through Playing God 313
  • Chapter 15 - Exiles (1967–1971) 315
  • Chapter 16 - Survivors (1972–1978) 337
  • Chapter 17 - Ghosts (1978–2002) 358
  • Appendix : Performances by Sidney Poitier 381
  • Notes 397
  • Bibliography 447
  • Index 467
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