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The director Regina King narrates a sequence from her film featuring Kingsley Ben-Adir, Leslie Odom Jr., Eli Goree and Aldis Hodge.

[...]hero Leroy Green watches Bruce Lee's film Enter the Dragon (1973) in a New York City mid town movie theater while wearing traditional Chinese male clothing (cant: cheongsam) and a straw hat while he eats popcorn with chopsticks. \"2 The Last Dragon, a box office success,3 functions as a fantastical space wherein Black and mixed-race authors (director Michael Shultz and screenwriter Louis Venosta) and audience engage in a complex, uneven, entertaining, and problematic relationship with Chinese and Japanese martial arts popular culture placed in a New York City context. Like the opening sequence of both the Hong Kong print and the Cantonese print of its genealogical, aesthetic, and nominative forbearer Enter the Dragon (1973), The Last Dragon commences with a musical martial arts montage/ The viewer is treated to Leroy Green-a young, sweating, brown-skinned, wavy-haired muscular man-practicing his martial arts forms. Ronald L. Jackson II, Scripting the Black Masculine Body: Identity, Discourse, and Racial Politics in Popular Media, Negotiating Identity: Discourses, Politics, Processes, and Praxes (Albany: State University of New' York Press, 2006), 49-50. Amy Abugo Ongiri, \"He Wanted to Be Just Like Bruce Lee: African Americans, Kung Fu Theatre and Cultural Exchange at the Margins J Journal of Asian American Studies, 5, no. 1 (2002): 31-40. Vijay Prashad, Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity (Boston: Beacon Press, 2001); Bill V. Mullen, Afro-Orientalism (Minneapolis: University of Minnesota Press, 2004); Fred Ho and Bill V. Mullen, Afro Asia: Revolutionary Political & Cultural Connections between...

Bill Gunn belongs to that less-well known phalanx of artists who harvest incorrigible deposits of Black genius from the rock farms of America. When we slid into substance (I soon forgot my questions, long gone by now) my eyes shifted occasionally from Bill to a self-portrait by him sitting on an easel on the other side of the room, nuancefully articulated in a Van Gogh way, the face true to the wit and sensitivity, free of illusions, and the generous good humor of Bill himself. Listening to Bill Gunn talk about his experiences and insights as an artist in America - part of my search for lost continents of Black filmmaking - it struck me that the oral narratives of project-people and sweet octogenarians can find an audience easier than the tales of Blacks who, every day, pit their intelligence against the national culture industry, though their words carry equal or heavier weight and wit. That you got your magic belt, your sword, you know, your three wishes and you went off to the lair of the giant to capture the golden hen, right? I really believed the white man was a giant up there, and he had the golden hen and I had this incredible magic ancestor and he came to me and gave me these weapons and said that in order to get the golden hen that lays the golden eggs, you have to penetrate that world.

The same government that was turning a blind eye and allowing crack to kill off low-income communities of color is now drawing mass attention to the issue and arming the community to assist users in the event of an overdose. For every dollar we spend on therapeutic healing, let there be a plan to ensure we are prepared to fight the next epidemic, regardless of race, gender, geographic location, etc. Let's make sure the wave of compassion reaches urban American communities the same way it reaches suburban American communities.^ Equity matters.

In many noirs, the white protagonists work in nightclubs, as singers, dancers or musicians - Veronica Lake's character in This Gun for Hire (Tuttle, 1942), June Vincent and Dan Duryea's characters in Black Angel (Neill, 1946), Ida Lupino's character in Road House (Negulesco, 1948) - in the segregated (if not exactly swing) tradition. In the neo-noir Collateral, the jazz sequence serves primarily to confirm white male power over black militancy. Author's Note This paper was originally presented at the Society for Cinema and Media Studies conference in London in 2005.

Actors, directors, producers, and other people from diverse heritages have contributed to America's film industry. Hollywood films have always been a sort of a mirror of the United States— although often a controversial and simplified one. This encyclopedia entry surveys how motion pictures in the US have contributed to the consolidation of the melting pot American society but also to the dissemination and strengthening of racial and ethnic prejudices.