Talk:Hallelujah (film)

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No exclamation mark in title[edit]

There is no exclamation mark in the title - checked against the title card on the DVD release and the BBFC entry for the original release. The overall title should be edited to amend this but it appears I can't do this. — Preceding unsigned comment added by RFWilmut (talk • contribs) 09:40, 2 September 2013 (UTC)[reply]

Hallelujah! (film) was moved to Hallelujah (film) on March 7, 2016, two-and-a-half years after the above posting. —Roman Spinner (talk)(contribs) 20:26, 7 March 2016 (UTC)[reply]

"Controversy" section[edit]

The following passage from this section reads: "Although revered in its innovative production style and inclusion of an all-African American cast, history later revealed the negative implications which would follow in the coming years. Due to its grossly stereotypical roles and portrayal of the African Americans, the film only really helped to contribute to the culture of diminishing the African American experience. According to Kevin K. Gaines at the University of Michigan, "Guided by southern apologists for lynching (the execution of persons without benefit of trial by mobs), many whites, regardless of income or education, viewed the aspirations of black men and women through the warped lens of crude racial and sexual stereotypes that accused all blacks of criminality and immorality."[17] "Racial Uplift Ideology in the Era of 'the Negro Problem'"

The source is a lecture by Kevin K. Gaines at the University of Michigan. There is no reference whatsoever to King Vidor or his 1929 film Hallelujah in this lecture. The application of this lecture is a form of "original research". Articles may not contain any new analysis or synthesis of published material that serves to reach or imply a conclusion not clearly stated by the sources themselves.

I suggest the passage cited above be removed. --Lord Such&Such (talk) 18:00, 27 July 2020 (UTC)[reply]

I deleted this material, as suggested.

The following material was removed from the former "Controversy" section:

This lens of racial and sexual stereotypes was amplified in movies such as Vidor’s Hallelujah!, and even received disdain from Paul Robeson (who was originally asked to play the role of Zeke but who turned it down), who reportedly "loathed" the movie, according to historian Scott Eyman. Furthermore, it is believed that the film’s "reputation is based largely on the fact that it was made at all".^[1]

The source does not support the statements in bold. Phrase such as "it is believed that..." must be supported. The source does not say the Paul Robeson "turned down" the role, but "was not available". The source address is retained in footnotes.

Also, one of the more famous of the 1920s among African American actresses, Nina Mae McKinney, had a notable performance in that it was the first known instance of the “black whore” to be utilized on screen. This display only went on to set forth a legacy illustrating “Black women (as) money grabbers, connivers and vamps”.^[2]

This material on McKinney described as the "first black whore" has been included in the revised article, and quoted as such. The phrase "set forth a legacy" is pure editorializing. It was deleted, as the source does not support this claim. The source is retained, however, and included in footnotes. --Lord Such&Such (talk) 18:52, 7 August 2020 (UTC)[reply]

References

^ Eagan, Daniel (2010). America's film legacy : the authoritative guide to the landmark movies in the National Film Registry ([Online-Ausg.]. ed.). New York: Continuum. ISBN 978-0826429773.
^ Smith-Shomade, Beretta E. (2002). Shaded lives : African American women and television. New Brunswick, NJ [u.a.]: Rutgers University Press. ISBN 978-0813531052.

[1] Eagan, Daniel (2010). America's film legacy : the authoritative guide to the landmark movies in the National Film Registry ([Online-Ausg.]. ed.). New York: Continuum. ISBN 978-0826429773.

[2] Smith-Shomade, Beretta E. (2002). Shaded lives : African American women and television. New Brunswick, NJ [u.a.]: Rutgers University Press. ISBN 978-0813531052.

[1]

[2]