Abstract
Theresa Harris was a black actor with 103 film credits to her name, three of which are Stanwyck films: Baby Face (1933), Banjo on My Knee (1936), and The File on Thelma Jordan (1949). Despite the paucity of archival evidence of Harris’s career, this chapter speculates on her contribution to Hollywood as a bit player, singer, and character actor. The critical race theory of Christine Goding-Doty suggests that Harris creates racial events through her diverse appearances, marking the lost possibility of a different cinema in which whiteness recedes into the background.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
