Red, White & Black: Cinema and the Structure of U.S. Antagonisms
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 argu...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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Durham
Duke University Press
[2010]
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| Online-Zugang: | FAB01 FAW01 FCO01 FHA01 FKE01 FLA01 UBG01 UBT01 UPA01 Volltext |
| Zusammenfassung: | 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 |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Beschreibung: | 1 online resource (401 pages) 22 b&w photographs |
| ISBN: | 9780822391715 |
| DOI: | 10.1515/9780822391715 |
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| 520 | |a 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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| index_date | 2024-07-03T16:07:30Z |
| indexdate | 2024-07-10T09:01:09Z |
| institution | BVB |
| isbn | 9780822391715 |
| language | English |
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| spelling | Wilderson, Frank B. III. 1956- Verfasser (DE-588)1097790851 aut Red, White & Black Cinema and the Structure of U.S. Antagonisms Frank B. Wilderson III. Durham Duke University Press [2010] © 2010 1 online resource (401 pages) 22 b&w photographs txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) 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 In English PERFORMING ARTS / Film & Video / History & Criticism bisacsh African Americans in motion pictures Indians in motion pictures Minorities in motion pictures Motion pictures United States History Race in motion pictures https://doi.org/10.1515/9780822391715 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Wilderson, Frank B. III. 1956- Red, White & Black Cinema and the Structure of U.S. Antagonisms PERFORMING ARTS / Film & Video / History & Criticism bisacsh African Americans in motion pictures Indians in motion pictures Minorities in motion pictures Motion pictures United States History Race in motion pictures |
| title | Red, White & Black Cinema and the Structure of U.S. Antagonisms |
| title_auth | Red, White & Black Cinema and the Structure of U.S. Antagonisms |
| title_exact_search | Red, White & Black Cinema and the Structure of U.S. Antagonisms |
| title_exact_search_txtP | Red, White & Black Cinema and the Structure of U.S. Antagonisms |
| title_full | Red, White & Black Cinema and the Structure of U.S. Antagonisms Frank B. Wilderson III. |
| title_fullStr | Red, White & Black Cinema and the Structure of U.S. Antagonisms Frank B. Wilderson III. |
| title_full_unstemmed | Red, White & Black Cinema and the Structure of U.S. Antagonisms Frank B. Wilderson III. |
| title_short | Red, White & Black |
| title_sort | red white black cinema and the structure of u s antagonisms |
| title_sub | Cinema and the Structure of U.S. Antagonisms |
| topic | PERFORMING ARTS / Film & Video / History & Criticism bisacsh African Americans in motion pictures Indians in motion pictures Minorities in motion pictures Motion pictures United States History Race in motion pictures |
| topic_facet | PERFORMING ARTS / Film & Video / History & Criticism African Americans in motion pictures Indians in motion pictures Minorities in motion pictures Motion pictures United States History Race in motion pictures |
| url | https://doi.org/10.1515/9780822391715 |
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