Sentences with phrase «of black sharecroppers»

Ronsel Jackson, eldest son of the black sharecroppers who live on the McAllan farm, has come home with the shine of a war hero.

Her story is intertwined with that of her bigoted father - in - law, her husband's younger brother and the son of black sharecroppers.

Dee Rees's hard - eyed drama about a family of black sharecroppers on a Mississippi farm is essential viewing in 2017.

Ronsel Jackson (Jason Mitchell), meanwhile, eldest son of the black sharecroppers who live on the farm, comes home from war a hero, only to face far more dangerous battles against the ingrained bigotry of his own countrymen...

Their lives become intertwined with a family of black sharecroppers, headed by Blige and Rob Morgan.

The Jacksons, a family of black sharecroppers working the land, have their own hopes, which their neighbors manage to nurture and curtail.

Ronsel Jackson, eldest son of the black sharecroppers who live on the McAllan farm, now battles the prejudice in the Jim Crow South.

Not exact matches

And so the tale of a Green Knight with his chopped - off head still holding a knight of the Round Table to promises made is no less true than the tale of a man crammed with secrets who spontaneously combusts and leaves behind only a black, tallowy mark on the floorboards, and his story in turn is no less true than the tale of a Texas sharecropper's wife who has had a miscarriage only ten days before but just this morning was walking behind the mule and guiding the jerking plow.

Imagine the shock to Nazi Party elites when a black American, the son of a sharecropper and grandson of slaves, stared down fascist propaganda, bested his rivals and took home four gold medals.

When the author recalls the long gallery of persons whom, in the course of this inquiry, he has come to know with the impetuous but temporary intimacy of the stranger — sharecroppers and plantation owners, workers and employers, merchants and bankers, intellectuals, preachers, organization leaders, political bosses, gangsters, black and white, men and women, young and old, Southerners and Northerners — the general observation retained is the following: Behind all outward dissimilarities, behind their contradictory valuations, rationalizations, vested interests, group allegiances and animosities, behind fears and defense constructions, behind the role they play in life and the mask they wear, people are all much alike on a fundamental level And they are all good people.

Set in rural Mississippi before, during, and after WWII, the film inspects the lives of white farmers and black sharecroppers whose lives clash when their respective sons return from war.

The five of them end up in a shack with no running water or electricity, cut off from town by a wooden bridge that floods when it rains, not far from their black sharecropper tenants, Florence and Hap Jackson (Mary J. Blige and Rob Morgan).

Mudbound is a sprawling epic about the complex relationships that connect two families of sharecroppers, one white, one black, in a rural, barren section of the Mississippi Delta in the years during and after World War II.

The filmmaker also pays careful attention to a white sharecropper who can not psychologically cope with the thought of being on equal economic terms with black farmers and is driven to terrifying, violent madness.

It's white supremacy in its Sunday finest, dressed up in the illusion of neighborliness, but Henry's demands are a constant tax on the Jacksons, assuming their servitude extends beyond the bounds of their tenancy agreement because they are black (he never calls on those white sharecroppers).

Set in post World War II Mississippi, Mudbound — based on Hillary Jordan's Bellwether Prize - winning novel — tells the story of Henry and Laura McAllan, a white farming family, and Hap and Florence Jackson, the black sharecroppers who live on and work their land.

The sweeping canvas collects an array of excellent performances, with special praise already heaped upon Mary J. Blige as a long - suffering sharecropper and Garett Hedlund as a shell - shocked veteran finding some common ground with a black fellow soldier (Jason Mitchell).

When Jamie, Henry's magnetic fighter - pilot brother, returns to the farm, he shakes up Laura's stunted passions and befriends the son of the McAllan's black sharecroppers, setting in motion a series of events with dramatic and grave consequences.

Almost every other black family worked as sharecroppers, which meant that they did all the hard work on another man's land and then had to give most of the profit right back to the owner.

Andrews's Mississippi River Bank, 2005; Gibson's Sharecropper, 2015; Binion's DNA: Black Painting: IV, 2015; and Saterstrom's Road to Shubuta, 2016, are currently on view in «Picturing Mississippi, 1817 — 2017: Land of Plenty, Pain, and Promise» through July 8.

The acquisitions include: Benny Andrews (1930 2006), Mississippi River Bank (Trail of Tears Series), 2005; McArthur Binion (b. 1946), DNA: Black Painting: IV, 2015; Jeffrey Gibson (b. 1972), Sharecropper, 2015; Titus Kaphar (b. 1976), Darker Than Cotton, 2018; Glenn Ligon (b. 1960) Condition Report, 2000; Deborah Luster (b. 1951), six gelatin silver prints from the series One Big Self: Prisoners of Louisiana, 1999 2001; Toyin Ojih Odutola (b. 1985), The Engagement, 2015; Noah Saterstrom (b. 1974), Road to Shubuta, 2016; and Hank Willis Thomas (b. 1976), Flying Geese, 2012.

Four of the works — Andrews» Mississippi River Bank, Gibson's Sharecropper, Binion's DNA: Black Painting: IV, and Saterstrom's Road to Shubuta — are currently on view through July 8, 2018, in Picturing Mississippi, 1817 2017: Land of Plenty, Pain, and Promise, the landmark exhibition interpreting Mississippi identity curated by the Museum on the occasion of the state's bicentennial.

It is also perfectly choreographed so that the poor black cotton pickers of Thomas Hart Benton appear in direct contrast to Grant Wood's cheerful white sharecroppers, say, and the gothic windows in Paul Sample's Church Supper speak straight to the window in Wood's American Gothic.

I was a poor black sharecropper's son, raised in the deep south (of New Jersey), who walked ten miles to school every day, up hill both ways, in the snow.

The only place where sundown towns are scarce is in the traditional south, where the labor of black slaves and later sharecroppers was too valuable and commonplace to expel from white communities.