For example, black pastors question how the Society for the Study of Black Religion really can understand the religion of blacks when absent from this group are
black preachers who minister to those who are unemployed, underemployed, addicted to alcohol and drugs, illiterate and apathetic.
Not exact matches
The murderer on - the - run
preacher in The Apostle
who founds a church where class and status make no difference, a congregation of displaced misfits
who are poor and poorer, dumb and dumber,
black and white, male and female, and fatter and fatter still, is telling people
who need to hear (because they can't read) what they most need to know to turn their lives around: They can be saved, despite it all, if they believe in Jesus and «Holy Ghost power.»
Clinton can be a
preacher who connects with his audience (especially in
black churches) through biblical passages.
She purchased
black newspapers for him to read, introduced him to
black history, and, most importantly, made sure he heard in person all the great
black leaders and
preachers who came to Kansas City.
One need only turn on the television to watch Machine Gun
Preacher for a similar portrayal of a white character
who travels to «Africa» to «save the children» against the backdrop of
black - on -
black slaughter, rape and torture which is never historically contextualised (see The Guardian's Catherine Shoard's critique of the white criminal - turned - saviour character of Sam in Machine Gun
Preacher as «half saint, half psychopath»).
After years of being the best thing on the sidelines in movies as varied as Mudbound, Billy Lynn's Long Halftime Walk and Friday Night Lights, the growly actor stars as a rising enlistee of the Ku Klux Klan
who undergoes a radical transformation with the help of a single mom (Andrea Riseborough) and a
black preacher (Forest Whitaker).
Parker delivers an Oscar - caliber performance as Nat Turner, a
black preacher in the antebellum South
who led an uprising of his fellow slaves three decades prior to the Civil War.
In this case, it's Jose Prieto's 1967 Shanty Tramp, which sees a small - town Southern prostitute have to decide between her lust for a
black man and her meal - ticket, the sleazy revival - tent
preacher who's just rolled into town.
This act of violence sets off a series of events and recollections, including the story of Alexander Bedward, the 1920s town
preacher who claimed that he could fly; and the school's modern - day principal, a wealthy white woman
who hires Gina to be her housekeeper without knowing the secret behind the
black woman's connection to her family.
Undaunted, White continued to advance a politics of struggle in his art, celebrating historical figures
who resisted slavery and depicting ordinary
black farmers,
preachers, mothers, and other workers with an unwavering strength and a silent, solid grace.