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Minorities in motion pictures. --- Race in motion pictures. --- Race --- Philosophy.
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Exoticism in motion pictures. --- Race in motion pictures. --- Motion pictures --- Sociology of minorities --- Film
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Identity (Psychology) in motion pictures. --- Intersectionality (Sociology) --- Motion pictures --- Race in motion pictures. --- History
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Chinese in motion pictures --- Motion pictures --- Race in motion pictures --- Sex role in motion pictures --- History
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In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality.
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"An introduction to Critical Race Theory through a close analysis of Spike Lee's film Bamboozled"--
African Americans in motion pictures --- Race in motion pictures --- Racism in motion pictures --- Race --- Bamboozled (Motion picture)
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"Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the 'settler, ' 'master, ' and 'human'), the Red (the 'savage' and 'half-human'), and the Black (the 'slave' and 'non-human'). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity."--
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Since its inception, U.S. American cinema has grappled with the articulation of racial boundaries. This applies, in the first instance, to featuring mixed-race characters crossing the color line. In a broader sense, however, this also concerns viewing conditions and knowledge configurations. The fact that American film engages itself so extensively with the unbalanced relation between black and white is neither coincidental nor trivial to state - it has much more to do with disputing boundaries that pertain to the medium itself. Lisa Gotto examines this constellation along the early history of American film, the cinematic modernism of the late 1950s, and the post-classical cinema of the turn of the millennium.
Race in motion pictures --- Motion pictures --- History. --- America. --- Cinema. --- Cultural History. --- Culture. --- Ethnicity. --- Hollywood. --- Media Studies. --- Media. --- Race. --- Racism.
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