By Stephen Bourne
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Additional info for Black in the British Frame: The Black Experience in British Film and Television
I was a very small child at the time, but I do vividly remember seeing my father on stage in those productions wearing the most wonderful, 33 Black in the British Frame exotic costumes. He didn't have speaking roles. He was an exotic extra, usually a eunuch. Father also worked as an extra and bit player in silent films, and he was a very good actor, as well as a fine raconteur on and off the stage. To put it simply, if father got work in a film or on the stage, we ate. Father worked a lot in the early days, but by the time I was twelve, around 1922, the work dried up.
G. D. Hamann, Paul Robeson in the 30s and 40s (Hollywood, Ca: Filming Today Press, 2000). C. L. R. James, 'Paul Robeson: black star', Black World, November 1970. Virginia Mason Vaughan, ' "The Ethiopian Moor": Paul Robeson's Othello', in Othello: A Contextual History (Cambridge: Cambridge University Press, 1994). Jeffrey Richards, 'The black man as hero', in Films and British National Identity: From Dickens to Dad's Army (Manchester and New York: Manchester University Press, 1997). Paul Robeson, Here I Stand (1958).
27 Elisabeth Welch, letter to Stephen Bourne, 19 January 1984. 28 Martin Bauml Duberman, Paul Robeson (London: Bodley Head, 1989), p. 208. 29 Cameron, Africa on Film, p. 26. 30 Sean Creighton, Politics atid Culture: Paul Robeson in the UK (London: Agenda Services, 1998), p. 4. 31 Peter Noble, Reflected Glory (London: Jarrolds, 1958), p. 37. 32 David Berry, Wales and Cinema (Cardiff: University of Wales Press, 1994), p. 168. 33 Graham Greene, Spectator, 15 March 1940. 34 Seton, Paul Robeson, p. 121.
Black in the British Frame: The Black Experience in British Film and Television by Stephen Bourne