Briefly discusses the cast and the Colored Players while announcing the premiere of The Scar of Shame. By Elissa Stern

Dudley, S. H. (1927, June 26). Dud’s Dope. Chicago Defender, 8A. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

S. H. Dudley, who later becomes closely involved with the Colored Players Film Corporation advocates the production of race pictures. By Elissa Stern

Dudley, S. H. (1927, June 25). Dud’s Dope. Chicago Defender, 8A. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

S. H. Dudley discusses returning from a conference in Philadelphia in which he was invited to become involved with the Colored Players Film Corporation and appeals to readers to contribute financially to make “a one million dollar corporation”. By Elissa Stern

Dudley, S. H. (1927, March 12). Dud’s Dope. Chicago Defender, 8A. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

In his column, S. H. Dudley, who became closely involved with the Colored Players Film Corporation of Philadelphia, advocates the production of race films and cites the Colored Players as a praiseworthy example. By Elissa Stern

Canby, Vincent. ‘Scar of Shame,’ a Black Pioneer Film, at Whitney. The New York times [0362-4331] (March 18, 1976).

This article summarizes the Colored Players Film Corporation’s 1927 film The Scar of Shame and reviews a 1976 screening of the film at the Whitney Museum of American Art in New York City, providing an example of the place the company’s work has taken in the discourse of film history. By Elissa Stern

Fraser, Gerald C.  Two Weekends of Black Film Classics at Symphony Space ...  The New York times [0362-4331] (Nov 30, 1979).

This article announces a 1979 screening of the Colored Players Film Corporation of Philadelphia’s 1927 film The Scar of Shame in association with a screening of Oscar Micheaux’s Body and Soul(1925), briefly summarizing the two films and the context of their production.  These are billed as “Black Film Classics” providing an example of the place the work of the Colored Players has come to hold in film historical discourse.  By Elissa Stern

Leab, D. J. "All-Colored"-But Not Much Different: Films Made for Negro Ghetto Audiences, 1913-1928. Phylon [0031-8906] 36.3 321-339. 3rd Qtr., 1975

Leab discusses the representation of blacks in film during the period from 1913-1928 and the audience that were the targets of such representations. This discussion of spectatorship and black representation in film is relevant to the context in which the Colored Players Film Corporation of Philadelphia worked during the second half of the 1920s. By Elissa Stern

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Bowser, P. & Spence, L. Oscar Micheaux’s Body and Soul and the Burden of Representation. Cinema journal [0009-7101] 39.3 3-29. Spring 2000.

This article provides a good discussion of film production in the context of stratification within black urban communities at a time contemporary with the production of the Colored Players Film Corporation.

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Gaines, Jane. The Scar of Shame: Skin Color and Caste in Black Silent Melodrama. Cinema journal [0009-7101] 27.2 54-56. Summer 1987.

Gaines analyzes issues of aesthetics and spectatorship surrounding the 1927 Colored Players Film Corporation’s 1927 film The Scar of Shame. She notes that the portrayals of black figures in the film are specific to a particular historical moment and are “haunted by white society” and a pervasive class consciousness among the black community (p. 5). She addresses the political views of the owners of the company in reference to those portrayed in the film citing the influence of a racist society as a cause for the melodramatic “stylistic excess” in the film (p. 16). By Elissa Stern