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Frank B. Wilderson | Akateeminen Kirjakauppa

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Red, White & Black - Cinema and the Structure of U.S. Antagonisms
Frank B. Wilderson
MD - Duke University Press (2010)
Pehmeäkantinen kirja
29,50
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ostoskoriin kpl
Siirry koriin
Incognegro - A Memoir of Exile and Apartheid
Frank B. Wilderson
Duke University Press (2015)
Pehmeäkantinen kirja
27,20
Tuotetta lisätty
ostoskoriin kpl
Siirry koriin
Afropessimism
Frank B. Wilderson
WW Norton & Co (2020)
Kovakantinen kirja
29,50
Tuotetta lisätty
ostoskoriin kpl
Siirry koriin
Incognegro: A Memoir of Exile&Apartheid
Wilderson; Frank B.; III
SOUTH END PR (2008)
Pehmeäkantinen kirja
48,00
Tuotetta lisätty
ostoskoriin kpl
Siirry koriin
Afropessimism
Frank B. Wilderson
WW Norton & Co (2021)
Pehmeäkantinen kirja
19,00
Tuotetta lisätty
ostoskoriin kpl
Siirry koriin
Afropessimismus
Frank B. Wilderson III
Matthes&Seitz Verlag (2021)
Kovakantinen kirja
27,40
Tuotetta lisätty
ostoskoriin kpl
Siirry koriin
Red, White & Black - Cinema and the Structure of U.S. Antagonisms
29,50 €
MD - Duke University Press
Sivumäärä: 408 sivua
Asu: Pehmeäkantinen kirja
Julkaisuvuosi: 2010, 19.03.2010 (lisätietoa)
Kieli: Englanti
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.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

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Turku
Tampere
Red, White & Black - Cinema and the Structure of U.S. Antagonismszoom
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