Sydney Poitier -- Oscar-winning actor of celebrated films such as Cry, the Beloved Country (1952), Lilies of the Field (1963), and to Sir, With Love (1966) - was born in Florida of Bahamian parents. He studied to be an actor at the American Negro Theater in New York in the 1940's. After his graduation a few years later he began working in the film industry and starred in many celebrated films such as Cry, the Beloved Country and The Blackboard Jungle in 1955. He received an academy award for his role in The Defiant Ones, which was produced in the same year.
Sydney Poitier is renowned for his portrayal of characters that personify depth and sensitivity. His portrayal of these characters was instrumental in combating and counteracting racial stereotypes of black people and in particular black actors in the 1950 and 1960's. His roles in which he was cast also depicted people of high moral caliber and standing.
The choice of his movie characters have contributed greatly to his reputation, not only as an acclaimed actor but also the way in which Sydney Poitier is perceived by the public....
This play, the first by a black playwright to show on Broadway, was a moving reflection of black family life that had great popular appeal (Sidney pp). Poitier's performance was such a critical success that he was asked to star in the movie adaptation in 1961 (Sidney pp). In 1963, his performance in "Lilies of the Field" won him the Academy Award for Best Actor, the first black man
Black Power Movement and Cinema of the 1960s and 1970s: A Discussion of Overlap As many scholars agree, all art is a product of its time. The social tensions, trends, patterns of thought and political issues of an era can’t help but influence the art that is created and consumed. This is particularly true with cinema and all forms of media arts. This paper will examine how the Black Power movement
" The Aftermath Uncle Tom characters were common in both white and black productions of the time, yet no director before Micheaux had so much as dared to shine a light on the psychology that ravages such characters. By essentially bowing to the two white men, Micheaux implied that Old Ned was less than a man; an individual whittled down to nothing more than yes-man and wholly deprived of self-worth. At this
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