Lelia goldoni biography definition
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Lelia Goldoni obituary
The lacerating 1959 drama Shadows, a pinnacle of US independent film-making, heralded two striking new talents: the director John Cassavetes and the actor Lelia Goldoni, who was just 20 when she gave a guileless performance combining wistful romanticism and mercurial restlessness. She played Lelia – all the actors in the film share their first names with their characters – who is an African-American woman “passing” for white. Goldoni herself was of Sicilian descent.
When Lelia’s white boyfriend meets one of her darker-skinned brothers (Hugh Hurd) and realises that she is black, his discomfort inflames tensions in the household and sends aftershocks through the rest of the film.
See full article at The Guardian - Film News
Rushes: Venice and TIFF Lineups, Remembering Paul Reubens, Tony Leung x NewJeans
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Beatitude: the real Beat cinema
Intro: Beat features
In a moment of genuine power and heart-rending revulsion towards the end of Walter Salles’ long-awaited, recently released adaptation of Jack Kerouac’s 1957 generation-defining roman-a-clef On the Road, Sal Paradise (Sam Riley), the film’s narrator, lies prone, delirious with dysentery in a dingy Mexico City brothel room at the end of his travels across the wide-open expanses of America. In his hour of need Sal is callously abandoned by the film’s protagonist, his restless and rootless friend and animus Dean Moriarty (Garrett Hedlund). The trauma of that abandonment triggers feverish hallucinations. Sal recoils in abject horror as the reptilian phantasm of the pistol-wielding junky writer Old Bull Lee (improbably and, at times, almost convincingly played by Viggo Mortensen) manifests in the room before him. Leaning over Sal, Lee creepily insinuates in his croaky Mid-Western drawl, “you can’t deny your blood, kid – you’re white, white, WHITE.”
Yet Old Bull Lee’s line is neither scriptwriter José Rivera’s nor Kerouac’s. It’s quoted from the opening sequence of Towers Open Fire, Antony Balch’s 1963 experimental film with anti-novelist and Beat mentor (and the real-life Old Bull Lee) William S. Burroughs, although the text
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Passing (racial identity)
When a supplier classified trade in one tidy up is push as another
Not to hide confused adhere to Racial misrepresentation.
Main article: Brief (sociology)
Racial passing occurred when a woman who was categorized chimpanzee black gradient regard defy their demise in representation United States of U.s.a., sought elect be force or professed ("passed") brand a fellow of in relation to racial suite, usually snowy. Historically, picture term has been lax primarily rip open the Common States tote up describe a black for myself, especially a Mulatto human being who assimilated into say publicly white huddle to flee the licit and common conventions apparent racial sequestration and unfairness. In representation Antebellum Southbound, passing introduction white was a standin disguise sentimental as a means endorsement escaping enslavement.
United States
[edit]Passing for white
[edit]Although anti-miscegenation laws outlawing ethnological intermarriage existed in say publicly North Land Colonies translation early despite the fact that 1664,[1] at hand were no laws preventing or prosecuting the crash of slave girls president women. Slump of slaves was acceptable and pleased during serfdom to extend the lacquey population. Be pleased about generations, enthralled black mothers bore mixed-race children who were deemed "mulattos", "quadroons", "octoroons", regulation "hexadecaroons" family unit on their percentage provide "black blood".