nothing man (3 resultados)

Soft cover. Condición: Very Good. 84 pages. C Day Lewis "Not Proven" (poem) / James Hanley "Say Nothing" / Roy Fuller "Anatomy of the Poet" (poem) / D A Greig "Trumper in Arcadia" / Robert Conquest Two Poems / Julian Mitchell "A Man You Can trust" / J Hillis Miller "The Anonymous Walkers" / Jocelyn Brooke "From Wauchop to Widmerpool" / D J Enright "Flowers that Bloom in the Spring (A letter from Singapore)".

[African American- Film] Nothing But A Man. Archive of 7 Original Lobby Card Photographs. DuArt Film, 1964. Each measure 10" x 8.25". Archive includes seven black and white movie stills. Nothing But A Man All photographs are bright and clear, in very good condition. Nothing But A Man is a 1964 American independent drama film that tells the story of Duff Anderson, an African-American railroad worker in the early 1960's who tries to maintain his dignity in a small racist town near Birmingham, Alabama, after he marries the local preacher's daughter. In addition to dealing with oppression and discrimination, Anderson must also come to terms with his troubled relationship with his own father, a drunk who abandoned and rejected him. In the film, Ivan Dixon "gives a spectacular depiction of a strong, principled individual who will not bend over for any man, White or Black. It's an early portrait of black pride, presented long before showing pride in being black was accepted." Active in the civil rights movement from 1961, Dixon also served as a president of Negro Actors for Action. One lobby card presents Dixon and Lincoln being harassed by two White men, while another presents Dixon and Lincoln in a tight embrace while she cries on his shoulder. Five lobby cards portray Dixon and Lincoln in various states of bliss---two images out of these five are close up portraits of them. All cards are vibrant and expressive, in very good condition.

Dixon, Ivan (subject). Nothing But a Man lobby card archive, 1964, documents African American life in the segregated American South through independent cinema, focusing on labor, family dynamics, and racial discrimination during the Civil Rights era. The material provides primary visual evidence of how Black working-class experience and personal dignity were represented on screen, supporting research into African American film history, race relations, and narrative portrayals of resistance and self-definition in early 1960s media. Nothing But a Man. DuArt Film, 1964. Archive of 5 original black-and-white silver gelatin lobby card photographs, each measuring approximately 10 x 8.25 inches. The images feature Ivan Dixon as Duff Anderson and Abbey Lincoln in scenes emphasizing both personal and social contexts. Three cards depict Dixon and Lincoln together, including close-up portraits and moments of intimacy, presenting their relationship within the constraints of a racially segregated environment. One image shows the pair seated in a restaurant, capturing everyday public interaction under social tension, while another depicts Dixon among fellow prisoners in a jail cell engaged in a game of checkers, visually referencing confinement and systemic control. The compositions alternate between close portraiture and group settings, emphasizing emotional expression, physical presence, and interpersonal dynamics central to the film?s narrative. This archive emerges from a pivotal moment in American independent filmmaking, when productions such as Nothing But a Man addressed racial inequality with a level of realism largely absent from mainstream Hollywood. Released during the height of the Civil Rights Movement, the film presents a Black protagonist navigating employment, marriage, and paternal relationships within a deeply segregated society, aligning with broader cultural efforts to articulate Black identity and dignity. Ivan Dixon?s involvement in civil rights activism, including leadership in Negro Actors for Action, further situates the film within contemporary struggles for representation and equality. All photographs exhibit strong contrast and clarity; minor wear consistent with handling; overall very good condition. A focused visual record of African American life and resistance as depicted in early 1960s independent cinema.