color adjustment documentary youtube

The film, which opens today at the Anthology Film Archives, devotes attention to Nat (King) Cole's variety show, which marked the first non-comedic series starring a black performer and was canceled for lack of sponsorship after a single season. From Amos ‘n’ Andy to Nat King Cole, from Roots to The Cosby Show, blacks have played many roles on primetime television. Color Adjustment is a Documentary directed by Marlon Riggs. This film has no rating.TimesMachine is an exclusive benefit for home delivery and digital subscribers.This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996.

Captions (subtitles) are available on videos where the owner has added them, and on some videos where YouTube automatically adds them. And today, he maintains, that world is no less elusive than it was when television was new. You can customize captions by … Running time: 86 minutes. Brilliantly weaving clips from classic TV shows with commentary from TV producers, black actors and scholars, Marlon Riggs blends humor, insight, and thoughtful analysis to explore the evolution of black/white relations as reflected by America’s favorite addiction.POV believes in the power of film to engage communities in dialogue around the most pressing social issues of our time. Caption settings on YouTube. Color Adjustment Directed and written by Marlon T. Riggs; videographer, Rick Butler; edited by Deborah Hoffmann; music by Mary Watkins; produced by Mr. Riggs and Vivian Kleiman. Mr. Riggs, who has a good ear for the idiocies of series television, extracts a brief scene featuring Julia's young son and a white boy, who exclaims, "Your mother's colored!" Directed by Marlon Riggs. Each of the shows discussed here emerges as a source of both pain and pride. Synopsis. "I was very proud to see that elegant man on television," Ms. Carroll says. "These were people who could move into your neighborhood and not disturb you at all," says Dr. Henry Louis Gates Jr. of Harvard University, one of several scholars who contribute helpful commentary throughout the film. Synopsis: Analyzes the evolution of television's earlier, unflattering portrayal of blacks from 1948 until 1988, when they are depicted as prosperous and as … To preserve these articles as they originally appeared, The Times does not alter, edit or update them.Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

Jennifer Brea's Sundance award-winning documentary, Unrest, is a personal journey from patient to advocate to storyteller.Jennifer is twenty-eight years-old, working on her PhD at Harvard, and months away from marrying the love of her life when a mysterious fever leaves her bedridden. We partner with public libraries and universities to bring you an ad-free experience that can be enjoyed on your TV, mobile phone, tablets and online. Visit the POV Community Network to browse films available for screenings.POV is a production of American Documentary, Inc. Mr. Riggs also documents television's continuing identity crisis as he contrasts the idealized black figures seen on sagas and sitcoms with the harsher, angrier ones provided by the news.In a straightforward, informative manner, Mr. Riggs elicits opinions from the stars and producers of landmark shows in black television history, pausing occasionally for a well-chosen observation from James Baldwin's writings.

It even admires the relative candor and familial closeness of "All in the Family," considering Archie Bunkerism a healthy antidote to the kid-gloves attitudes of other shows. "Course! Original title: Color Adjustment. Diahann Carroll and Tim Reid, both of whom later starred in television series important to Mr. Riggs's argument, discuss their changing reactions to "Amos 'n' Andy," the show about which the N.A.A.C.P. "Color Adjustments" is especially interesting about "Good Times," which Mr. Riggs indicates had substance and verisimilitude until Jimmie Walker's low comedy was allowed to dominate it, and "Frank's Place," which was intelligent and forthright about the black experience and therefore didn't last. "Could prime-time break the mold of comedy and still comfort white America?"