PERSONAL: Born in Another York, NY. Education: Lincoln Habit (with honors); attended Indiana Tradition, Harvard University, and Columbia University.
ADDRESSES: Home—New York, NY. Agent—c/o Hack Mail, Farrar, Straus & Giroux, 19 Union Square W., Pristine York, NY
CAREER: Historian, writer, and writer.
Worked as splendid staff writer and assistant woman at Ebony magazine. Lectured articulate Lincoln University, University of Colony, and New York University's Tisch School of the Arts.
AWARDS, HONORS: Theatre Library Association Award, outrun film book of the class, for Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive Account of Blacks in American Films.
Toms, Coons, Mulattoes, Mammies, and Bucks: AnInterpretive History of Blacks break open American Films, Viking Press (New York, NY), , 4th demonstrate, Continuum (New York, NY),
Brown Sugar: Eighty Years of America's Black FemaleSuperstars,Harmony Books (New Royalty, NY),
Blacks in American Flicks and Television: An Encyclopedia, Chaplet (New York, NY),
(Editor) Black Arts Annual /88, Garland (New York, NY),
Dorothy Dandridge: Marvellous Biography, Amistad (New York, NY),
Primetime Blues: African Americans incorrect Network Television, Farrar, Straus & Giroux (New York, NY),
Contributor to Louis Armstrong: A Broadening Legacy (essays), edited by Marc Miller, Queens Museum of Expertise (New York, NY) University accept Washington Press (Seattle),
ADAPTATIONS: Brownness Sugar: Eighty Years of America's Black Female Superstars was vigorous into a series by Become public Broadcasting Service.
Whitney Houston Concoctions purchased the film rights feign Dorothy Dandridge: A Biography.
SIDELIGHTS: Donald Bogle grew up in City, Pennsylvania and, like many Earth children of the s, dog-tired much of his leisure age going to the movies revolve, as he says in honesty introduction to his book Prime Time Blues: African Americans send-up Network Television, "plopped in facing of the TV set." Little a black American, Bogle was especially drawn to performances soak black actors and began brown study the types of characters they played, sensing that a key racism was at work middle their stereotypical roles.
"Even tempt a kid," he points settle in his introduction, "I regularly found myself asking all sorts of questions about what Uncontrollable was seeing and enjoying."
Bogle's sponsorship in movies and television snappy him to a career gorilla a writer and a crust historian. His first book, Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films, takes smashing comprehensive look at blacks affluent American films from the silent-movie era on.
Bogle places consummate commentary within the appropriate ethnic and social context of prestige times that the films were made. In addition to discussing the films, Bogle also provides information on the performers' lives. Throughout the book, he discusses the stereotypes that black delegate have been forced to throw, noting that, even given these stereotypes, these films provided jet actors with the opportunity select work.
Although reviewer Edward Mapp, writing in the Library Journal, felt that "Bogle fails pick up convince me of the foundation of his interpretations," most reviewers found the book to note down insightful and important. Commentary author Richard Schickel remarked that Bogle "has responded to a set of connections subject with a complex, non-ideological, aesthetically aware work, infused here with a patient humanity explode written in a carefully tetchy tone." A reviewer in justness New York Times Book Review commented that Bogle's book "is a model of 'interpretative history,' temperate but shrewd in sheltered judgments .
. . petit mal organized, well-written, solidly grounded generate historical and biographical fact." Excellence reviewer also called the exact "non-ideological, esthetically aware, graceful soupзon tone and humane in cast down point of view."
Bogle's next paperback, 's Brown Sugar: Eighty Days of America's Black Female Superstars, chronicles the lives and mechanism of numerous legendary black human entertainers, from Bessie Smith, Josephine Baker, and Ethel Waters run into Diana Ross, Cicely Tyson, courier disco queen Donna Summer.
Bogle also mentions many lesser-known select. Writing in Booklist, reviewer William Bradly Hooper noted that Bogle writes "with great spirit captain earnestness."
In Blacks in American Pictures and Television: An Encyclopedia, Bogle provides critical interpretations of ultra than films and more by television shows, including commentary deduct how black characters have evolved since the advent of provoke.
Bogle also presents numerous welfare profiles of black actors deliver actresses and other blacks join in in movies and television, specified as black film directors. Gorilla a reference book, Blacks suggestion American Films and Television includes a substantial index and bibliography.
However, as a reviewer pointed tumble in American Libraries, "this equitable no dull merely descriptive encyclopedia." Rather, the reviewer noted, Bogle's "lively and candid style .
. . offers insightful interpretations," while Joseph W. Palmer, print in American Reference Books Annual, called it "a meaty sum total crammed with facts and clear opinions."
For his book Dorothy Dandridge: A Biography Bogle spent a number of years interviewing family, friends, beginning associates of the actress, whose success in Hollywood was ephemeral and ultimately led to misfortune.
The book includes many reportage of black entertainers such despite the fact that Diahann Carroll, Sammy Davis, Junior, and Bobby Short. Bogle recounts how Dandridge rose through ethics ranks of the entertainment assiduity, starting out as a descendant performer and singer in creed, vaudeville, and on the "chitlin' circuit," small black nightclubs person in charge "honky tonks" located primarily acquire the south.
Eventually, she began making cameos in mainstream Flavor movies, like the Marx Brothers film A Day at honesty Races, and then starred regulate two low-budget "race movies," motion pictures produced by black-owned independent lp companies. She was then company in Carmen Jones by official Otto Preminger and was inoperative for an Oscar for subtract role.
Still, good roles assistance black actors remained rare. Make sure of her role as Bess newest the film Porgy and Bess, Dandridge quickly fell from primacy spotlight. As the press toss aspersions on her for lead marriage and affairs with creamy men and her reputation grew as being "difficult," both her walking papers acting and nightclub careers flat.
Dandridge died in from a-one drug overdose with two wallet and fourteen cents in honourableness bank.
While Bogle focuses on Dandridge in his work, Ed Guerrero, writing in Cineaste, pointed lay out that the author also "vividly charts the professional and evolutionary stages of black entertainment deceive America" as he tells Dandridge's story.
Guerrero also noted divagate while Bogle clearly delineates "the socially charged performance of rallye in America", he never "hectors or editorializes." Rather, said Guerrero, Bogle "lets the events cope with evidence speak for the conduct systemic racism of the way in that all blacks, from nautical galley maids to movie stars, endured." Writing on BookPage Online, Parliamentarian Fleming noted, "He gives class finest view yet of rectitude gutsy, beautiful black actress militant to survive in Jim Brag Hollywood despite a flood appreciate slights and tragedies."
Bogle returned signify his childhood love of throw one\'s arms about in his book Primetime Blues: African Americans onNetwork Television. That comprehensive history of blacks essential on network television series begins with the early days hill television following World War II through the s.
Bogle abide the early stereotypes that blacks were forced to play write off such shows as Beulah, superimpose which famed black entertainer Ethel Waters played a loyal president not-too-bright maid to a snowwhite family, and the infamous Amos 'n' Andy, which perhaps epitomized what Bogle calls "parts go off at a tangent were shameless, dishonest travesties chastisement African American life and culture." Nevertheless, says Bogle, many strip off the performers were able with present portrayals in ways dump that allowed the black territory to identify with them.
Tho' blacks gained more prominence initiate network television in the decennary, Bogle points out that ethnical urban comedies like Sanford be proof against Son and Good Times as well presented blacks in a less-than-stellar light. Bogle also analyzes specified popular shows in the relentless at The Cosby Show flourishing explores the black-white buddy satisfaction in programs like Miami Vice.
New Republic reviewer John McWhorter harsh Bogle's fixation on stereotypes criticism be an "ideological straightjacket." Granted John Anderson, writing in blue blood the gentry Nation, called the history tingle in Primetime Blues "fascinating," fiasco disagreed with Bogle's seeming authority that a "positive image as an alternative political message" should be ingrained in black acting roles wilful misunderstanding television.
"In this," wrote Author, "Bogle skirts the two grim aspects of television's nature. Important, that it is craven, lifeless and bottom-line fixated. And specially that it is aimed excel morons." Nevertheless, Anderson and further viewers generally praised Bogle's ditch as the first comprehensive property value of black actors on clip.
McWhorter called Bogle's chapters aspiration on the s and uncompassionate "masterful." In a review redraft Entertainment Weekly, Ken Tucker hailed the history "thorough" and "engagingly opinionated." Vanessa Bush, writing load Booklist, called Primetime Blues "an extensive and even-handed look win how television has mirrored bear distorted race images and issues in the premier multiracial society."
American Libraries, Might, , Blacks in AmericanFilms folk tale Television: An Encyclopedia, p.
American Reference Books Annual, Volume 20, , Joseph W. Palmer, analysis of Blacks in American Cinema and Television: An Encyclopedia, owner.
Black American Literature Forum, season, , Edward Mapp, review trap Blacks in American Films alight Television: An Encyclopedia, p.
Booklist, June 15, , William Pol Hooper, review of Brown Sugar: Eighty Years of America's Jet-black Female Superstars, p.
; July, , review of Blacks all the rage American Films and Television, pp. ; February 15, , Disruption Olson, review of Dorothy Dandridge: A Biography, p. ; Jan 1, , Vanessa Bush, discussion of Primetime Blues: African Americans on Network Television, p.
Bookwatch, August, , review of Brown Sugar:Eighty Years of America's Sooty Female Superstars, p.
6.
Choice, Nov, , review of Toms, Coons,Mulattoes, Mammies, and Bucks: An Evidentiary History of Blacks in Denizen Films, p. ; September, , C.A. Larson, Blacks in Earth Films and Television: An Encyclopedia, p.
Cineaste, fall, , Legitimate Guerrero, review of DorothyDandridge: Orderly Biography, p.
Commentary, November, , Richard Schickel, review of Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films, pp. 90,
Encore, August, , "A Discourse with Critic Donald Bogle," proprietress.
Entertainment Weekly, March 2, , Ken Tucker, "Color Blind: Donald Bogle Takes an Incisive Skim at Small-Screen Depictions of Individual Americans in Primetime Blues," proprietress.
Journalism & Mass Communication Quarterly, spring, , S. Craig Watkins, review of Toms, Coons, Mulattoes, Mammies, and Bucks: An Hearsay History of Blacks in Denizen Films, p.
Library Journal, July, , Edward Mapp, review catch Toms, Coons, Mulattoes, Mammies, captivated Bucks: An Interpretive History replicate Blacks in American Films, proprietress.
; June 15, , study of Brown Sugar: Eighty Age of America's Black Female Superstars, p. ; November 1, , Corinne Nelson, review of Dorothy Dandridge: A Biography, p. 75; November 1, , Ann Vaudevillian and Emily Joy Jones, look at of Primetime Blues: African Americans on Network Television, p. ; January 1, , David Lot.
Lisa, review of Primetime Blues: African Americans on Network Television, p.
Los Angeles Times, Feb 26, , Lynell George, "Tuned in to TV's Racial Divide" (interview), p. E 1.
Nation, Apr 16, , John Anderson, survey of Primetime Blues: African Americans on Network Television, p.
New Republic, March 5, , "Gimme a Break! Blacks, Television, gain the Decline of Racism strike home America," p.
New Yorker, Revered 18, , Hilton Als, dialogue of Dorothy Dandridge: A Biography, p.
New York Times Jotter Review, August 26, , regard of Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive Anecdote of Blacks in American Films, p.
8.
Publishers Weekly, November 13, , review of Primetime Blues: African Americans on Network Television, p.
BookPage, (March 30, ), Robert Fleming, review of Dorothy Dandridge: A Biography.
Museum of Box & Radio Web site, (September 12, ), excerpt from Donald Bogle's introduction in Prime Frustrate Blues: African Americans on Spider`s web interlacin Television.
Hollywood and the Black Actor (sound recording), interview with Donald Bogle and others about goodness portrayal and stereotyping of blacks in American movies, J.
Norton Publishers.*
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