Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Super Black places the appearance of black superheroes alongside broad and sweeping cultural trends in American politics and pop culture, which reveals how black superheroes are not disposable pop products, but rather a fascinating racial phenomenon through which futuristic expressions and fantastic visions of black racial identity and symbolic political meaning are presented. Adilifu Nama sees the value--and finds new avenues for exploring racial identity--in black superheroes who are often dismissed as sidekicks, imitators of established white heroes, or are accused of having no role outside of blaxploitation film contexts.Nama examines seminal black comic book superheroes such as Black Panther, Black Lightning, Storm, Luke Cage, Blade, the Falcon, Nubia, and others, some of whom also appear on the small and large screens, as well as how the imaginary black superhero has come to life in the image of President Barack Obama. Super Black explores how black superheroes are a powerful source of racial meaning, narrative, and imagination in American society that express a myriad of racial assumptions, political perspectives, and fantastic (re)imaginings of black identity. The book also demonstrates how these figures overtly represent or implicitly signify social discourse and accepted wisdom concerning notions of racial reciprocity, equality, forgiveness, and ultimately, racial justice.

African Americans in art --- African Americans in literature --- Afro-Americains dans l'art --- Afro-Americans in literature --- Afro-Amerikanen in de kunst --- Afro-Amerikanen in de literatuur --- Afro-Américains dans la littérature --- Amerikaanse zwarten in de literatuur --- Black Americans in literature --- Comic book heroes --- Negroes in literature --- Noirs américains dans la littérature --- Super heroes --- Super-héros --- Superhelden --- Superheroes --- Superhéros --- Zwarte Amerikanen in de literatuur --- African Americans in art. --- African Americans in literature. --- Comic books, strips, etc. --- Popular culture --- Superheroes. --- Social aspects --- Comic books, strips, etc --- United States --- Bandes dessinées --- Noirs américains --- Personnages de bandes dessinées, dessins animés, etc. --- Culture populaire --- Noirs américains dans la culture populaire --- Aspect social --- Dans les bandes dessinées. --- Thèmes, motifs --- Dans les bandes dessinées --- Sociology of culture --- Drawing --- Literature --- United States of America --- Amerikaanse cultuur --- beeldverhalen

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In 1993, Prince infamously changed his name to a unique, unpronounceable symbol. Yet this was only one of a long string of self-reinventions orchestrated by Prince as he refused to be typecast by the music industry’s limiting definitions of masculinity and femininity, of straightness and queerness, of authenticity and artifice, or of black music and white music. Revealing how he continually subverted cultural expectations, I Wonder U examines the entirety of Prince’s diverse career as a singer, multi-instrumentalist, songwriter, producer, record label mogul, movie star, and director. It shows how, by blending elements of R&B, rock, and new wave into an extremely videogenic package, Prince was able to overcome the color barrier that kept black artists off of MTV. Yet even at his greatest crossover success, he still worked hard to retain his credibility among black music fans. In this way, Adilifu Nama suggests, Prince was able to assert a distinctly black political sensibility while still being perceived as a unique musical genius whose appeal transcended racial boundaries.

Music and race --- Sex in music --- Sexuality in music --- Music --- Race and music --- Race --- History --- Prince --- Artist Formerly Known as Prince --- Nelson, Prince Rogers --- TAFKAP --- Criticism and interpretation. --- Prince, Prince Rogers Nelson, musician, music, race, African American studies, singer, songwriter, gender, masculinity, femininity, sexuality, queer, queerness, straightness, black music, white music, music industry, cultural expectations, multi-instrumentalist, producer, record label mogul, movie star, director, R&B, rock, new wave, color barrier, MTV, guitar, microphone, drums.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Known for their violence and prolific profanity, including free use of the n-word, the films of Quentin Tarantino, like the director himself, chronically blurt out in polite company what is extremely problematic even when deliberated in private. Consequently, there is an uncomfortable and often awkward frankness associated with virtually all of Tarantino’s films, particularly when it comes to race and blackness. Yet beyond the debate over whether Tarantino is or is not racist is the fact that his films effectively articulate racial anxieties circulating in American society as they engage longstanding racial discourses and hint at emerging trends. This radical racial politics—always present in Tarantino’s films but kept very much on the quiet—is the subject of Race on the QT. Adilifu Nama concisely deconstructs and reassembles the racial dynamics woven into Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, Kill Bill: Vol. 1, Kill Bill: Vol. 2, Death Proof, Inglourious Basterds, and Django Unchained, as they relate to historical and current racial issues in America. Nama’s eclectic fusion of cultural criticism and film analysis looks beyond the director’s personal racial attitudes and focuses on what Tarantino’s filmic body of work has said and is saying about race in America symbolically, metaphorically, literally, impolitely, cynically, sarcastically, crudely, controversially, and brilliantly.

African Americans in motion pictures. --- Tarantino, Quentin --- Criticism and interpretation.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)