A short biography of the life of Stallone and the success of Rocky.  This is a good resource for one looking for quick information on the successes and failures of Stallone.  By D. Goldstein

Ryan and Kellner contextualize Rocky within the culture and society of its time.  The authors state that the movie was made during “the second major recession of the decade” and that the film’s story barely hides its elements of working class racism.  Ryan and Kellner see Rocky’s attack against the African-American Creed as a metaphor for the white working class’s resentment for the rising status of the African-American in 1970’s society.  By D. Goldstein

This criticism offers a small synopsis and background history of the film and its creation.  Like Rocky’s other critics, Leab describes the title character as “The Great White Hope.”  He claims that the success of the film rested on its reception by America’s White working class and that the film rejected the prejudices and fears of the Black movement toward equality in the 70’s.  It is interesting that the move to a “Bicentennial America” meant a move toward racism.  Again, I assume Stallone did not intend for this connection when he wrote Rocky’s script, but I’m sure the culture of the era influenced Stallone to unintentionally include the racist elements of the film such as Rocky’s degradation at the hands of an arrogant Black reporter.  By D. Goldstein

O’Brien notes the misrepresentation of Black boxers in the film Rocky.  He states that “in the last half century,” there has been only one great white boxer.  The rest have been black.  However, Rocky presents a White boxer as the great boxing champion.  Implicit in the Rocky films is racism.  Only after the Italian-American Rocky defeats Apollo in Rocky II does the African-American former champion choose to join his side and help him train.  In this article, O’Brien posits that racism in society may have shaped how Rocky was written.  By D. Goldstein

Martin posits that Rocky is a film rich with “ideological and mythical meanings” and conservative values.  Martin sees Rocky not as a symbol of hope for the oppressed poor, but as retaliation against the Civil Rights movement of the late 1960’s which challenged the dominant power of European-American male.  Martin implies that the theme of the oppressed white man may have conservatively shaped public attitudes in the late 70’s, leading to Reagen’s “New Right” of the 1980s.  It is very interesting to see how a film such as Rocky may have had political implications as well as cultural ones.  Martin interprets the portrayal of Rocky as the poor, oppressed white man fighting against the dominating Black man as a way of scapegoating African-Americans as the cause of financial difficulties at the end of the 70’s.   Given the film’s popularity, it is reasonable to think that this message could have affected the views of many Americans.  By D. Goldstein

Kyle Counts, “Birdy”, Magill’s Cinema Annual 1985, p.93

Discussion of director/producer Alan Parker’s insistence on filming in Philadelphia (as in novel), describing it as a “background of hopelessness W.C. Fields, Birdy, or anyone else would yearn to soar above”.  By N. Dlugash

History of Hollywood in 1960’s and 1970’s.  By M. Kach and G. Lane.

Boyette, Michael. . "Let it burn!" : the Philadelphia tragedy / Michael Boyette with Randi Boyette. [0809245434 ] Chicago : Contemporary Books, 1989.
Call#: Van Pelt Library F158.9.N4 B69 1989

This is a detailed, first hand, account of the events on May 13^th, 1985. The exact times of the day when the specific events occurred are recorded. It is a timeline of not only the entire day but the events leading up to May 13^th, and the effects of the bombing. It examines the mindset and the status of the people living in the neighborhood at the time.  By A. Wilkins

Assefa, Hizkias. . Extremist groups and conflict resolution : the MOVE crisis in Philadelphia / Hizkias Assefa and Paul Wahrhaftig. [027592694X (alk. paper) ] New York : Praeger, 1988.
Call#: Van Pelt Library F158.9.N4 A87 1988

Takes look at the motives behind the events of the violence on May 13^th, 1985. Who was involved, who made the decision to fire, why did this happen? All these questions are addressed and answered as best they can.  By A. Wilkins

Anderson, John, 1954 Mar. 27- .  Burning down the house : MOVE and the tragedy of Philadelphia / John Anderson and Hilary Hevenor. [0393024601 : ] New York : Norton, c1987.

Glazer, Irvin R. “Philadelphia Theatres, A-Z.”  New York, Westport, CT, London. Greenwood Press: 1986.  p. 70-71

According to Glazer, the Boyd was the “only Art Deco first-run moving picture theatre erected in the city” of Philadelphia.  In 1963, the Boyd underwent a transition from the three-projector Cinerama system to a single-projector system, though Glazer only mentions the three projection booths being installed.  He also mentions, interestingly, that “when Cinerama product was no longer available, the Boyd had a brief period of porno.”  By A. Migdail

Glazer, Irvin R., 1922- . Philadelphia theatres, A-Z : a comprehensive, descriptive record of 813 theatres constructed since 1724 / Irvin R. Glazer. Westport, Conn. : Greenwood Press, c1986.

A one page exerpt about William Goldman and his winning stance against Loews. This one page gives a quick history of William Goldman’s ten year rise to becoming one of Philadelphia’s most prominent entrepreneurs. His ownership of multiple theaters in Philadelphia came at a point towards the end of the studio system. Goldman’s expansion of his theatre palaces changed the landscape of downtown for many years to come. By W. Wright

An account of the inspiration behind and the making of “Salt of the Earth” by the director himself. The story accounts, primarily, what the inspirations were for the making of the film—especially regarding the Hollywood blacklist and the HUAC hearings, which ultimately lead to Biberman’s incarceration in Texas. He tells of his experiences as a member of the Hollywood Ten and recounts the tension this put on his personal life and artistic capacities. The book delineates Biberman’s struggle to make the film—from casting and production issues to distribution challenges. It sheds a light on the parallels between the story Biberman chooses to tell through the film’s account of the Mexican Union Workers and the persecution of he and his colleagues under the HUAC and McCarthy agendas. By I. Cowles

Lorence, James J. . Suppression of Salt of the earth : how Hollywood, big labor, and politicians blacklisted a movie in Cold War America / James J. Lorence.  Albuquerque : University of New Mexico Press, c1999.

This book explores the making of “Salt of the Earth.” It explores all of the important facets of the film, examining the implications of the representation as a means of criticizing the HUAC agenda and fostering community and self-expression within an oppressively authoritarian system. Lorence outlines the circumstances created by the Cold War, explores the origins of the IPC and the inspiration behind the making of “Salt of the Earth.” He explores the difficulties of film production and distribution, and ultimately discusses the legacy of the film on both foreign and domestic markets.  By I. Cowles

Screenplay of “Salt of the Earth” written by Michael Wilson; Comments by Debora Silverton Rosenfelt comparing Hollywood and New Mexico; two final chapters outlining the making and distributing of the film. This is a direct account of the screenplay of the film. Wilson’s work is then followed by several academic and historical treatments of the film and filmmaking process. By I. Cowles

Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

Island of Lost Souls Film Poster

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

The Invisible Man Film Poster. Art by Karoly Grosz. Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

Contains both advertisements as well as pictures. This book essentially describes the entirety of the Keswick’s existence as a suburban theatre that transformed an entire community. Takes the theatre from before it was constructed up to today. By Lee Forest Black

Glazer describes theaters built in Philadelphia after 1724.  By Peggy DeAngelo

Still Images of Stanton and Stanley Theatres. Glazer, Irvin R., 1922-. Philadelphia theaters : a pictorial architectural history / Irvin R. Glazer. [0486278336 :] Philadelphia : Athenaeum of Philadelphia ; New York : Dover Publications, c1994.

Pictures of Stanley and Stanton theatres, the two premiere venues for exhibiting horror films in Philadelphia.  By Conor Fitzpatrick

The Mummy Film Poster. Art by Karoly Grosz. Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

Murders in the Rue Morgue Film Poster

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

King Kong Film Poster. Art by S. Barret McCormick & Bob Sisk.

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

White Zombie Film Poster

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

Freaks Film Poster

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

Horror poster art / edited by Tony Nourmand and Graham Marsh ; foreword by Christopher Frayling. [1845130103 (pbk.) ] London : Aurum, 2004.

Dr. Jekyll and Mr. Hyde Film Poster

This is a film poster that may have appeared in the city of Philadelphia.  By Conor Fitzpatrick

Dracula Film Poster.

This is a film poster that may have appeared in the city of Philadelphia. By Conor Fitzpatrick

“Stanley Theatre” and “Stanton Theatre” from Glazer, Irvin R., 1922-. Philadelphia theatres, A-Z : a comprehensive, descriptive record of 813 theatres constructed since 1724 / Irvin R. Glazer. [031324054X (lib. bdg. : alk. paper)] Westport, Conn. : Greenwood Press, c1986. (Pg. 214-6)

This excerpt gives a brief history of the Stanley and Stanton theatres, both of which were primary outlets for the exhibition of horror films in Philadelphia. By Conor Fitzpatrick

This entry in the American Film Institute’s Catalog gives production information and a brief summary of the Colored Players’ film, Children of Fate.  It also cites a newspaper article that places the film’s budget at $25,000 (Chicago Defender 27 November 1926, p. 7) as well as Pittsburgh Courier 6 August 1927.  By Elissa Stern

This entry in the American Film Institute’s Catalog gives production information and a brief summary of the Colored Players’ film, Ten Nights in a Barroom.  It also notes the screening of the film in Los Angeles, citing two press sources: California Eagle 25 June 1926, p. 7; California Eagle 26 October 1928.  By Elissa Stern

American Film Institute. (1997). A Prince of His Race. Within our Gates: Ethnicity in American Feature Films, 1911-1960. (Gevinson, A.,Ed.). Berkeley: University of California Press, 794

This entry in the American Film Institute’s Catalog gives production information and a brief summary of the Colored Players’ film, A Prince of His Race from a Chicago Defender article. A note under the entry puts the budget of this film at $14,000, “a costly figure for black films at that time” (794). Two press citations are also listed: (New York Age, 4 Dec 1926, p. 6; Chicago Defender, 27 Nov 1926, p. 7. By Elissa Stern

American Film Institute.  (1997).  The Scar of Shame.  Within our Gates: Ethnicity in American Feature Films, 1911-1960 .  (Gevinson, A., Ed.). Berkeley: University of California Press, 885-886.

This entry in the American Film Institute’s Catalog gives production information and a brief summary of the Colored Players’ film, The Scar of Shame.  The entry further quotes lines from the film:  “If early in life some knowing, loving hand lights the lamp of knowledge and with tender care keeps it burning, then our course will run true 'til the end of our useful time on this earth, but if that lamp should fail through lack of loving hands to tend its hungry flame-then will come sorrow and SHAME!” (p. 886).  This quote is attributed to "a modern source" in a note (p. 886).  By Elissa Stern

 Carey.  Baltimore Afro-American,10.  Jan 22, 1927. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.] 

Announces the Colored Players Film Corporation’s Ten Nights in a Barroom on the program of the Carey Theater in Pittsburgh and includes a plot summary.  By Elissa Stern

"Ten Nights in a Bar Room" Gets Showing. Philadelphia Tribune, 3.  Nov 20, 1926.  [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

This article reviews a preview screening of Ten Nights in a Barroom given by the Colored Players Film Corporation at Philadelphia’s Gladstone Theater “before a representative audience.”  The author also mentions a post-screening visit to the CPFC studios where “race artists, electricians, and cameramen” were busily working on a film.  In addition, he notes Starkman’s dissatisfaction with the “indifference and lack of cooperation of certain local theater owners in doing their part to encourage worthwhile Negro pictures”.  By Elissa Stern

Stellar Colored Picture At…Royal Theater Next W…. Philadelphia Tribune, 3. July 17, 1926. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

The article includes a summary of A Prince of His Race by the Colored Players Film Corporation and an announcement for its exhibition at the local Royal Theater. Moreover, the article states that “an excellent supporting cast of local talent” was used in the film. By Elissa Stern

Gilpin Enters Movie’s Realm. Philadelphia Tribune, 3. June 19, 1926. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

This article discusses the involvement of Charles Gilpin, the famed stage actor, in the Colored Players Film Corporation’s Ten Nights in a Barroom and announces a preview screening. Includes brief quotes from Gilpin. By Elissa Stern

At the Elmore. Pittsburgh Courier, 10A. Aug 13, 1927. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

An announcement for the presentation of the Colored Players Film Corporation’s Children of Fate at Pittsburgh’s Elmore Theater touts the film as “a super movie play with an all-star colored cast” and includes a plot summary. By Elissa Stern

Royal. Baltimore Afro-American, 13. April 13, 1929. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

This elaborate full page advertisement for the Colored Players Film Corporation’s The Scar of Shame in Baltimore includes a plot summary and a screen shot reproduction and bills the film as the “First All-Colored Talking Picture!”. By Elissa Stern

Elmore Theater. Pittsburgh Courier, 10A. Aug 6, 1927. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

Advertises a film by the Colored Players Film Corporation of Philadelphia entitled Children of Fate, with the interesting misprint “Children of Hate” as mentioned in Musser (2001). Cites the film as the “most talked-of movie of the year” and “The Greatest Colored Picture Ever.” By Elissa Stern

Scores of Race Theaters Install Talkies. Pittsburgh Courier, p. 9A. March 30, 1929. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

This article provides a reference relating to the film historical context in which the Colored Players Film Corporation was working in the second half of the 1920s, when the silent film industry was on its last legs as sound film took over. By Elissa Stern

Goldwyn, R. (1974, November 17). The Scar of Shame: Why the Fuss over this Old, Made-in-Philadelphia, Silent Black Film.  Sunday Bulletin, Philadelphia Bulletin, p. 16.  [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.278-85.]

By Elissa Stern  

Bowser, P. Lost, Then Found: The Wedding Scene from The Scar of Shame (1929). Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001. 188-9.

This brief article includes a description of a “rediscovered” scene from the Colored Players Film Corporation’s 1929 silent film The Scar of Shame. Bowser also provides bits of information about the history of the actual prints of the film. The American Film Institute acquired 35mm prints of the film around 1970 and this became the commercially available video version. The wedding scene, however, discovered a few years later by Bowser in a 16mm version, is missing from the AFI version.  By Elissa Stern

Cripps, Thomas. Black film as genre / Thomas Cripps. [0253375029] Bloomington : Indiana University Press, c1978.

This book contains a brief discussion of the Colored Players Film Corporation in its Preface, highlighting the white ownership of the supposedly colored production company. The book also contains analyses of 6 race films (The Scar of Shame, The St. Louis Blues, The Blood of Jesus, The Negro Soldier, Nothing But a Man, Sweet Sweetback’s Baadasssss[sic] Song) in the context of being “black genre films”, a filmography of black genre film (title, date, director), and an appendix with credit information for these 6 films. The chapter devoted to the analysis of the social and historical context of the production of the Colored Players’ 1927 film The Scar of Shame focuses on the use of white cinematographers and directors in the tale of a black middle-class melodrama. He also discusses an attempt to increase black attendance at film screenings.  By Elissa Stern

Musser, C. Appendix C: A Colored Players Film Corporation Filmography. Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001. 278-85.

This filmography of the four films produced by the Colored Players Film Corporation of Philadelphia is by far the most detailed source of information regarding Philadelphia film production in the second half of the 1920s. Musser’s filmography includes cast listings, production credits, the length of the features (all are 8 reels), plot descriptions transcribed from newspaper advertisements, production and screening dates and locations, as well as copious lists of relevant contemporary newspaper citations. By Elissa Stern

Musser, C. Colored Players Film Corporation: An Alternative to Micheaux. Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001. 178-87.

This article relays detailed information about the organization of the Colored Players Film Corporation, the inter-racial and inter-ethnic context in which its films were produced, and also provides interesting discussion about the rivalry between Colored Players and the company of Oscar Micheaux, including the “st[ealing of] each other’s actors” (Musser, 2001, p. 182). By Elissa Stern

Philadelphia Theater Locations (Constructed 1906-1915). Lists Philadelphia theaters with descriptions and addresses.  By Jake M. Chanin

Glazer compiles historical photographs of Philadelphia Theaters.  By Jake M. Chanin