Golden Globe Award Research Articles

A Brief Analysis on the Narrative Art of Pulp Fiction

Pulp Fiction by Quentin Tarantino was made in 1994. With its novel and unique method and structure of narration, the film won many international awards including the Academy Award, the Golden Globe Award and the Golden Palm. The film adopted a seemingly messy but orderly form of expression, showing black violence, vulgar, marginal and other narrative elements, as well as subverting the traditional narrative perspective and space, creating a brand new visual experience for the audience. Today, China’s movie market is very prosperous, China has become the second largest movie market after the United States, and has the largest movie audience in the world. However, the overall level of Chinese film industry is low. This paper analyzes the non-linear narrative structure and omniscient narrative perspective of Pulp Fiction, thus exploring the feelings it brought to the audience through its unique narrative method. By doing so, this paper hopes to provide some reference for the development of Chinese narrative film.

OVERLAP TYPES IN GOLDEN GLOBE AWARD INTERVIEW BY THE HOLLYWOOD REPORTER

The aim of this research is to categorize what types of overlap are constructed in Golden Globe Award Interview 2020 with Nicholas Braun by The Hollywood Reporter. In an interview, it is one of turn taking violations which still becomes a rife phenomenon where many speakers aren’t aware yet about it. The approach used in this research is descriptive qualitative by documentation technique. The main theory of overlap types is based on Schegloff (2000) and French & Local (1983). There are 13 data found which contain 11 non-competitive: 1 terminal overlap, 5 continuers, 4 conditional access to the turn, 1 choral and 2 competitive: 2 high pitch and increased loudness. So, it can be concluded that the most dominant of overlap type is continuers that categorized as unproblematic for the speakers and conversation structure. Because the next speakers used it to respect the current speakers. Therefore, this result is expected as one of overlap examples which can be applied.

Subtitling: Behind the scenes

“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films”, stated South Korean director Bong Joon-Ho at the Golden Globe awards in 2020. His film Parasite became the first non-English language film to win an Oscar for Best Picture, shining a spotlight on the critical role subtitles play in exposing global audiences to the vast world of film.

CREATIVITY AND VISUALITY OF CLOSED SPACES: THE CASE OF ETTORE SCOLA

The article seeks to discuss a particular stylistic tendency, within audiovisuality, to contextualize narration and themes within closed (and often small) places – a tendency which has been given the name of claustrophilia. While particularly suitable to genres like horrors and thrillers, where the closed space often takes sinister and threatening connotations, claustrophilia may also appear in a more positive light, as a metaphor of shelter and safety, and has been in fact represented in all kind of ways. Within this picture, and throughout all its history, Italian cinema has often shown a remarkable attention for claustrophiliac representations. As a consequence, the focus of the article will be the director Ettore Scola, a figure specialized in this approach, and particularly the case study of his 1977 release A Special Day (in Italian: Una giornata particolare), one of his most celebrated works, and a well-known one at international level, due also to its Academy Awards candidature and Golden Globe Awards win.

Golden Gays: Awards Legitimation from the Globes to GLAAD

This article historicizes how the Golden Globe Awards and the George Foster Peabody Awards selectively commended television programming with gay, lesbian, bisexual, transgender, and queer (LGBTQ+) themes from the 1970s through the mid-1990s. I argue that these awards programs’ different legitimizing practices helped to define LGBTQ+ programming as elite, sequestering it from television’s everyday discursive positioning. I first consider how the outcast status of the Golden Globes, organized by the Hollywood Foreign Press Association, compelled greater attention to “queer” television oddities, even while the recognitions upheld a troublingly classed framing of LGBTQ+ shows that dovetailed with the organizer’s late-1980s discrediting following disclosures of bribery and other dealings. The Peabodys, on the other hand, promoted standards for “respectable” programming and therefore refused recognition of gay-themed shows until doing so became politically expedient in the late 1980s. This academic awarding institution later singled out “quality” entries for acclaim, paving the way for more contemporary associations between LGBTQ+ television and premier viewing platforms. Ultimately, I argue that activist media watchdogs such as the Gay and Lesbian Alliance against Defamation (GLAAD) emulated the Globes’ and Peabodys’ public relations strategies, becoming de facto awards organizations in the 1990s that adopted “quality” criteria for recognizing queer-themed shows.

“Voices against Silence”: a case study of the social impact of journalism

ABSTRACT Gender-based violence affects 1 in 3 women worldwide and is the leading cause of death among women. Journalism has a duty to provide fair and coherent information and has a huge effect on peoples’ perceptions. This study examines how one excellent journalism practice contributes to social impact and overcomes sexual harassment. Social impact is considered a crucial factor for evaluating the impact of science. This concept is used to evaluate journalism practice, while the contribution is made through an analysis of the social impact achieved following the RTVE documentary “Voices against Silence” (Golden Globe Award at the 2018 World Media Festival, Hamburg). Implementing the social impact of social media (SISM) methodology and additional interviews (14), this study examines evidence of this documentary’s social impact by exploring citizens’ voices through social media (Twitter and Facebook) and interviews with people whose lives have been impacted by watching this documentary. The evidence collected is linked to the United Nations Sustainable Development Goal 5 to overcome sexual harassment. The results indicate this documentary had a social impact by contributing to overcoming sexual harassment and improving trust in journalism as well as providing a reputation for journalistic coverage, which also leads to social impact.

Bohemian Rhapsody: efeitos da atribuição de prémios cinematográficos no envolvimento no Facebook.

Nowadays, the importance of social media in the various sectors of our society is unquestionable. Furthermore, the investment that the cinematographic industry has been making in the use of new digital platforms that promote communication with the public is also undeniable. The trend is the cinema converge with the Internet, so it is imperative that the cinematographic industry creates an online content production system continuously and updated before, during and after the film’s debut in theatres. This empirical study aims to highlight the effects of the awarding of the best film and best actor in the 76th Golden Globe Award for the movie Bohemian Rhapsody. In this way, it was analysed the engagement of web users with the Facebook page before and after the attribution of the prizes to the film object of this analysis. The results show that as we move further from the release date of the movie, there will be a trend towards more “likes”, but less “shares” and “comments” by users that follows the movie page. Nevertheless, this trend changed in order to the Bohemian Rhapsody victory in the Golden Globes. Therefore, it is concluded that the awarding of premiums to the films modifies the engagement of the users in that pages of social media.

Greed in the Film "Parasite"

Penelitian ini mengupas tentang pesan moral yang berhubungan dengan ketamakan dalam film Parasite. Karya seni berbahasa Korea Selatan ini dipilih karena merupakan film terbaik di dunia versi Academy Awards atau Oscar 2020. Pada 2019 lalu, garapan Bong Joon-Ho ini meraih Palme d’Or dalam Festival Film Cannes ke-72. Sekaligus mendapat apresiasi berupa delapan menit standing ovation dari hadirin. Pada Januari 2020, karya yang berjudul asli Gisaengchung ini memenangkan Best Foreign Language Film di Golden Globe Awards dan Cast in a Motion Picture di Screen Actors Guild Award. Tak hanya itu, rekam jejak film ini menjadi lebih menarik karena meraih Best Film Not in the English Language dalam British Academy of Film and Television Arts 2020, beserta sederet penghargaan di ajang internasional lainnya. Sejumlah artikel membahas tentang aspek kesenjangan sosial yang ditunjukkan di film ini. Padahal, sebagai sebuah karya seni, pesan moral dalam sebuah produk sinematik bisa beragam dan dapat ditelaah dari beragam sudut pandang. Riset ini bersandar pada teori representasi yang merujuk pada konsep tamak dalam perspektif Islam dan Kristen, seperti tertera pada tafsir di kitab suci Al-Qur’an dan Injil. Metode yang digunakan adalah kualitatif dengan pendekatan analisis visual pada lingkup the site of image itself. Hasil dari penelitian ini, ketamakan tergambar pada sikap dari satu keluarga miskin yang memiliki peran utama dalam film Parasite.

The Life and Times of Lilian Lee: An Analysis of Lee's Screenplays From Psychological and Stylistic Perspectives

Lilian Lee, a novelist and screenwriter, is a prominent figure in the Hong Kong film industry and literary circles. Her unique writing style has earned her wide acclaim. Most of her works feature romances, fantasies or mysteries, showing her creative imagination. However, she didn't let love stories and supernatural elements overshadow the full picture she depicted. Instead, she further explored themes such as gender identity, sexual orientation and feminism, and dug deeper into a broad range of topics including mortality, fatality, history and patriotism. She revealed the complexity of human nature and the inner conflicts her characters underwent through incisive remarks and heart-rending stories. Her best-known works include Farewell My Concubine, Green Snake, Rouge and Kawashima Yoshiko, all of which are considered masterpieces, representing a milestone in the history of Asian cinema. Farewell My Concubine remains the only Chinese-language film to win both the Palme d'Or at the Cannes Film Festival and the Golden Globe Award for Best Foreign Language Film. It was included in Time's list of "All-Time" 100 Movies in 2005. Rouge had 16 nominations and awards at the Hong Kong Film Awards and the Taipei Golden Horse Film Festival. It also earned Lee the Hong Kong Film Award for Best Screenplay. The critical and commercial success of these films is largely attributed to Lee's screenwriting, and the success of her screenwriting rests on her relatively fixed writing mindset. This article focuses on screenplays written by Lilian Lee and analyzes her construction of plot, narrative techniques and her writing mindset and style, by exploring the influence of her personal experience, aesthetic preference, writing habits, and her cultural, social and educational background on her works.

“Things Have Moved on in the South,” Or the Art of Forgiveness as in Three Billboards Outside Ebbing, Missouri by Martin McDonagh (2017)

Martin McDonagh’s 2017 film entitled Three Billboards.. has been critically hailed as the film “about vengeance, violence and the acceptance of death,” controversial mainly “for its handling of racial themes” and considered “empty of emotional intelligence” as well as “devoid of any remotely honest observation of the society it purports to serve.” How come, then, that yet another embodiment of the U.S. South as culture’s “bad guy,” has managed to win so many accolades, including Oscar nominations (7) and Oscar awards (3) as well as e.g. 4 Golden Globe awards or 5 BAFTA awards? My paper attempts to approach this question by claiming that the film successfully “advertises,” much as its titular billboards do, and on all levels of its cultural production, contemporary southernness as the art of forgiveness. I am curious to see if and how such a vision of the South lets the region off the hook as culture’s aberration.

Introduction: ‘So bad it’s good’: aesthetics, reception, and beyond

7 January 2018. Beverley Hills, California. It was the night of the 75th Golden Globe Awards, and James Franco had just been named Best Actor in a Musical or Comedy for his performance in The Disas...

"Ray Donovan": Irishness in American Popular Culture Today

Ray Donovan is a series created by Ann Biderman and co-produced with Mark Gordon and Bryan Zuriff, which started to be broadcast by Showtime in 2013, winning a Golden Globe award for best supporting actor for Jon Voigt and several nominations in various competitions, including for its leading actor Liev Schreiber, and which has run for six seasons so far.

Velkomst og afstandtagen

This paper looks to humour and performance while studying how ethos is negotiated and distributed in relation to audiences when rhetors are introduced and accept the word. One older and two more recent examples are examined. First, bishop Lovis Henry Ford introducing president Bill Clinton in Memphis Church of Christ in November 1993, enabling a remarkable performance in terms of subject re-positioning on Clinton’s part; next, two managers at the Danish radio station Radio24syv acting as incompetent hosts and foils to high-profile employees in an award-winning ad campaign; and finally comedian Ricky Gervais hosting the Golden Globe award show, demonstratively excluding rather than welcoming each of the next speakers on stage. Together, the case studies highlight the strong potential of introductions as occasions for rhetorical maneuvering (Phillips, 2006). What may seem like a trivial ritual, has the power to destabilize rhetorical situations, offering space for dissent and negotiation of values within communities. Keywords introductions, epideictic rhetoric, ethos, rhetorical maneuvers, humor, performance.

Actress and Mental Health Advocate Patty Duke Dies at 69

Back to table of contents Previous article Next article Association NewsFull AccessActress and Mental Health Advocate Patty Duke Dies at 69Eve BenderEve BenderSearch for more papers by this authorPublished Online:16 May 2016https://doi.org/10.1176/appi.pn.2016.5b17AbstractAs one of Hollywood’s first stars to go public about her life with bipolar disorder, Patty Duke paved the way toward greater understanding of mental illness and its treatment.The mental health advocacy world lost a leading ally in March when renowned actress Patty Duke died on March 29 in Idaho. She was 69. At APA’s 2008 Annual Meeting, Patty Duke said that being diagnosed with bipolar disorder at the age of 32 was a relief because it helped her make sense of her many years of suffering. She was interviewed by Altha Stewart, M.D., now APA secretary.David HathcoxDuke, born Anna Marie Duke in Queens, N.Y., in 1946 to a mother with depression and a father who struggled with addiction to alcohol, became accustomed to fame at an early age when she began to act on stage and live TV in the early 1950s. Duke was removed from her home by her managers and began acting professionally at the age of 7. At the age of 16, Duke had the distinction of being the youngest star to win an Oscar Award for her portrayal of Helen Keller in the film “The Miracle Worker” and subsequently won two Golden Globe awards, three Emmy Awards, and a People’s Choice Award. When Duke was a teenager, she began to experience mental instability and mood swings that would characterize the next 20 years of her life. Her illness resulted in multiple suicide attempts and psychiatric hospitalizations. Once she was diagnosed with bipolar disorder at the age of 32, she received treatment and soon found her “true calling” as a mental health advocate, Duke explained to an audience at APA’s 2008 Annual Meeting.She wrote a 1992 memoir about living with bipolar disorder titled A Brilliant Madness: Living with Manic-Depressive Illness and spent the remainder of her life working to increase awareness of the condition. She lobbied Congress and helped the National Institute of Mental Health push for increased mental illness funding and research.“APA is profoundly saddened by the loss of Patty Duke,” APA President Renȳe Binder, M.D., told Psychiatric News. “As an early leader of the mental health advocacy movement, she lifted some of the mystery and stigma surrounding mental illness by sharing her experiences with bipolar disorder. Her role as a mental health advocate, as well as the many roles she played on screen and stage throughout her life, has impacted many lives.”Following Duke’s death, her son Sean Astin launched a crowd-sourcing site called the Patty Duke Mental Health Project to continue her legacy of mental health advocacy. According to the site, funds will be used to “fuel a multilevel approach to achieving results for those suffering with mental illness and for their families and communities. Public awareness campaigns, lobbying efforts, and supporting a multitude of mental health programs big and small will be organized, prioritized, and vigorously pursued.” ■Information about the Patty Duke Mental Health Project can be accessed here. ISSUES NewArchived

On Sutak’s <em>Cinema Judaica: The War Years, 1939–1949</em>

On Sutak’s Cinema Judaica: The War Years, 1939–1949 Stephen J. Whitfield (bio) Cinema Judaica: The War Years, 1939–1949. By Ken Sutak. New York: Hebrew Union College–Jewish Institute of Religion Museum/CCAR Press, 2012. 106pp., ISBN 978-1-884300-25-7 (ebook). US $9.99. Perhaps no decade in modern Jewish history—perhaps no decade since the destruction of the Second Temple—has been so packed with significance as the ten years that began in 1939. The horrifically unimaginable was followed by the thrillingly unpredicted. No catastrophe like the Holocaust can be said to have been redeemed. But the birth of a Jewish state, however much historians of the Yishuv can trace the achievement of sovereignty to forces independent of the shock of the Final Solution, cannot in retrospect be removed from the same cataclysmic decade as the torment of the refugee crisis, the plight of Diasporic Jewry beleaguered by anti-Semitism hardly limited to the distinctive terror of the Third Reich, the impact of totalitarianism, and the momentum of decolonization and nationalism. How did such extraordinary historical experiences register in the past century’s supreme medium of mass communication? One answer is reflected in movie poster exhibits that were mounted in the spring of 2007 and then again in the spring of 2008 at the Hebrew Union College–Jewish Institute of Religion Museum in New York City. This seductive, lovingly designed, and informative volume stems from those exhibits, which Ken Sutak very ably produced. Cinema [End Page 192] Judaica constitutes an impressive feat of archeology, of an era that begins with a feature film like Warner Bros.’ Confessions of a Nazi Spy (Anatole Litvak, USA, 1939), starring Edward G. Robinson, and ends with a quartet of obscure movies set during Israel’s fight for independence. The phrase that serves as the title of this book, Sutak writes, may have originated in Los Angeles, “to promote revival screenings of Jewish-themed films” (99), and to attract audiences to concerts where the film scores by Jewish composers were performed. The author gives no exact dates, however. Nor is his own definition of a “Jewish-themed” movie unduly rigid. The Stranger (Orson Welles, USA, 1946), for example, includes documentary footage of concentration camps. But none of the major characters (portrayed by Orson Welles, who also directed the film, Loretta Young, and the ubiquitous Edward G. Robinson) is Jewish; and the Nazis were not too finicky about whom they chose to imprison and torture in the camps. What makes The Stranger Jewish is therefore dubious. Cinema Judaica even includes a Disney cartoon, Education for Death (Clyde Geronimi, USA, 1943). Or take The House I Live In (Mervyn LeRoy, USA, 1945). Perhaps no nine-minute short in the history of Hollywood has enjoyed more acclaim. This movie won a special Academy Award for “Tolerance Short Subject,” as well as a Golden Globe Award for “Best Film for Promoting International Good Will.” These prizes, in the immediate aftermath of the Final Solution, signaled a shift in the zeitgeist. But the kid Frank Sinatra protects from young bigots in the film is bullied because of his different “religion”; it is not explicitly mentioned as Judaism. During a decade when prejudice was widely believed to be indivisible, as though anti-Semitism and racism were interchangeable, and when universalistic values were often considered the best refuge for an embattled people, it was prudent not to be too specific. The House I Live In was scripted by Albert Maltz, and Lewis Allan (the pseudonym used by Abel Meerepol) is co-credited with writing the title song. Two years after RKO’s short subject was released, Maltz would be subpoenaed to testify as a member of the Hollywood 10 before the House Un-American Activities Committee. Eight years after Sinatra introduced this musical plea for pluralism, Julius and Ethel Rosenberg would be electrocuted; and Meerepol would adopt their orphaned sons. Despite the marvelous evocation of the decade that the visual artifacts in Cinema Judaica achieve, it misses something crucial, which is the politics of many of the filmmakers themselves. The struggle against anti-Semitism was largely a leftist struggle, just as the New Deal had enhanced [End...

Waltz with Bashir(2008): Trauma and Representation in the Animated Documentary

A movie so unusual that it overflows any box in which you try to contain it.-Anthony Lane, New Yorker, 5 January 2009Ari Folman has definitively moved the frontier between fiction and documentary.-Philippe Azoury, Liberation, May 2008It's a shattering war film, full of guilt and shock, and finding a new medium for expressing and exploring familiar themes.-Jason Solomons, Observer, 18 May 2008Could easily turn out to be one of the most powerful statements of this Cannes and will leave its mark forever on the ethics of war films in general.-Dan Fainaru, Screen Daily, 15 May 2008thus ran some of the glowing reviews published following director Ari Folman's triumphant premiere of his animated documentary Waltz with Bashir (2008) at the Festival de Cannes, where it was greeted with a strong standing ovation. Next came a series of important film festival nominations and awards, including Best Picture at the International Documentary Association Awards, Best Animated Feature by the Los Angeles Film Critics Association, and Best Foreign Language Film at the Golden Globe Awards, the latter of which is typically a category devoted to fiction. contradictory status of these awards-some for fiction, some for documentary-reflected the hybrid nature of this emerging subgenre of the animated documentary and the growing acceptance within the industry of willful blurring of once-strict borders between genres and techniques. It seemed as though the international film community had embraced Folman's film for its unique blending of modes of representation, simultaneously reconfiguring the ethics of the nonfiction film and heralding an important new discourse for the animated genre. But such a lauded film deserves closer attention for how exactly it navigates these complicated politics of representation and ethics, especially in reference to the traumatic experience of war.Often billed as the first feature-length animated documentary, Waltz with Bashir actually follows an extensive history of short and feature-length nonfiction animations dating almost as far back as the invention of the motion picture camera itself. most notable of its early predecessors is Sinking of the Lusitania (1918) by Winsor McCay, considered to be one of the earliest animated documentaries, if not the first. Functioning as a short newsreel, much like its early documentary contemporary March of Time, the short film was intended as a way to depict an historical event-the 1915 German U-boat attack on a transatlantic passenger ship, which resulted in a huge number of American casualties-that took place without being documented photographically (DelGaudio 189). In the absence of any archival footage capturing the tragedy as it unfolded, McCay's hand-drawn images offer the most realistic, alternative depiction of the event.In his linear, step-by-step retelling of the ship's final moments prior to its sinking, McCay crafted a dramatic call to arms for the American people against this German aggression. intention is clearly one of propaganda, with emotional moments drawn for maximum emotional impact, including the life rafts being lowered into the water just as a second torpedo strikes the ship and, most chilling of all, a woman holding her child as she sinks beneath the water's surface and drowns. The babe that clung to his mother's breast cried out to the world-TO AVENGE the most violent cruelty that was ever perpetrated upon an unsuspecting and innocent people: this is just one of many titles interspersed between the animated sequences that drove the impassioned depiction forward. Etched in a stunning black-and-white graphic style notable for its detailed, realistic depiction of the violent events, the film has the effect of filling the viewer with the strongest visceral sense of the catastrophe without the aid of a single frame of photographically captured reality.Although Winsor McCay's focus may have been on one singular event in time-one that helped draw the United States into the war-his film is notable for how it attempts to capture the essence of a tragedy via the animated filmic image. …

Feeding the Birds: Divine Intervention by Mary Poppins, a Female Christ Figure

ABSTRACT:Mary Poppins, the film based on the novel by Australian writer P. L. Travers, was one of Walt Disney's greatest successes when it first debuted in 1964, and its five Academy Awards (out of thirteen nominations), its Golden Globe Awards and Grammy Awards, and its astronomical sales at the box office prove it. The character Mary Poppins has received little critical attention in the past fifty years; however, Poppins can be viewed as a female Christ figure who comes to save the family. Through the song “Feed the Birds,” readers receive the powerful message of charity, which serves as the foundational message.

Intergenerational Engagement with Hip Hop: Parents as Mediators of African American Adolescent Consumption of Popular Culture

Now imagine there's a shorty, maybe five maybe four. Ridin' 'round with his mama listening to the radio. And a song comes on and a not far off from being born, doesn't know the difference between right and wrong. Now ain't trying to make it too complex, but let's just say shorty has an undeveloped context about the perception of women these days. His mama sings along and this what she says, Niggas, I'm a bad bitch, and I'm bad bitch. Something that's far above average and maybe other rhyming words like cabbage and savage and baby carriage and other things that match it. Couple of things are happenin' here, first he's relatin' the word bitch with his mama-comma, and because she's relatin' to herself, his most important source of help and mental health, he may skew respect for dishonor.-Lupe Fiasco Bitch Bad (Waco, Jordan, Giannos, & Boyd, 2012)The study reported in this article addressed the socialization messages African American female adolescents receive, the hip hop cultural movement as an educative site, and the role of parents and educators in countering the dominant scripts and facilitating media literacy among these young women. first hip hop generation, born between 1965 and 1984, have entered adulthood and middle age and now have children impacted by musical content and imagery that influenced them (Kitwana, 2003). Today, young people all over the world are identifying with and using popular culture to define themselves, for many of them, the adults in their lives are as well.Based on the (mis) representations of Black women and girls in the media, the author co-created a media literacy group and designed a pedagogical intervention to deconstruct media messages of Black women and their meanings. work with this group was intentional in historicizing stereotypes about Black women and encouraging Black adolescent females to (re)define Black girlhood for themselves. In addition to fostering a reaffirming space for Black girls to create or maintain, a positive self-identity, the author also sought to explore the intergenerational engagement with hip hop occurring in the household of the girls, based on dialogue conducted in the media literacy group. By exploring relationship dynamics and level of dialogue with these girls and their parents, the findings contribute to the literature on Black family socialization. This research also adds to the literature that examines students' out-of-school time, and the environmental and social determinants of academic success.THE HIP HOP CULTURAL MOVEMENTA revolution in youth culture was launched through the evolution of hip hop and effects youth's multiple identities. Television, another form of popular culture, has nudged its way into this space as well. Aisha Durham (2010) referred to the music in hip hop and its imagery as hip-hop media. There are several television shows, on a variety of networks, in which hip hop is the basis. VH1's & Hip Hop-New York, with spin-off, Chrissy & Mr. Jones, as well as & Hip Hop-Atlanta, with a spin-off in the making based on a controversial couple, Stevie J and Joseline Hernandez. Additionally, several hip-hop artists have created television shows: rap mogul Sean Diddy Combs' Making the Band and Who Wants to Work for Diddy, William Flavor Flav Drayton's Flavor of and subsequent spin-off shows I Love New York and Chance of Love, RunDMC artist Reverend Joseph Run Simmons' Run's House, rapper Clifford T.I. Harris' Family Hustle, rapper Jayceon The Game Taylor's Marrying the Game and Bravo channel's The Real Housewives of Atlanta. Hip hop continues its reach into film with three films, 8 Mile, Hustle and Flow, and Get Rich or Die Tryin', all receiving Academy Award nominations. 8 Mile, starring White rapper Eminem, received the Academy Award for Best Original Song for Lose Yourself from the movie soundtrack. song was also nominated for a Golden Globe Award for Best Original Song. …

Jodie Foster at the 2013 Golden Globe Awards: What She Said (and Didn’t) about Coming Out, Celebrity, and Queer Activism

Jodie Foster at the 2013 Golden Globe Awards: What She Said (and Didn’t) about Coming Out, Celebrity, and Queer Activism

Historical dictionary of African American cinema

Part 1 Editor's Foreword Part 2 Acronyms and Abbreviations Part 3 Chronology Part 4 Introduction Part 5 THE DICTIONARY Part 6 Appendixes Chapter 7 A. NAACP Image Award Winners Chapter 8 B. African American Academy Award Winners Chapter 9 C. African American Golden Globe Award Winners Chapter 10 D. Black FIlmmakers Hall of Fame Inductees Chapter 11 E. Top-Grossing African American Films Chapter 12 F. Top-Grossing Films Directed by African American Women Chapter 13 G. Top-Grossing Films Directed by African American Men Part 14 Bibliography Part 15 Internet Sources Part 16 About the Authors