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دانلود کتاب Red White & Black - Cinema and the Structure of US Antagonisms
دانلود کتاب قرمز سفید و سیاه - سینما و ساختار تضادهای ایالات متحده
مشخصات کتاب
Red White & Black - Cinema and the Structure of US Antagonisms
ویرایش:
نویسندگان: Frank B. Wilderson III
سری:
ISBN (شابک) : 0822346923
ناشر: Duke Press
سال نشر: 2010
تعداد صفحات: 0
زبان: English
فرمت فایل : EPUB (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود)
حجم فایل: 3 مگابایت
قیمت کتاب (تومان) : 50,000
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توضیحاتی در مورد کتاب قرمز سفید و سیاه - سینما و ساختار تضادهای ایالات متحده
قرمز سفید
توضیحاتی درمورد کتاب به خارجی
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
فهرست مطالب
TITLE PAGE COPYRIGHT PAGE Contents ACKNOWLEDGMENTS INTRODUCTION: UNSPEAKABLE ETHICS A Note on Method 1: THE STRUCTURE OF ANTAGONISMS ONE: THE RUSE OF ANALOGY TWO: THE NARCISSISTIC SLAVE A Culture of Politics The Dilemmas of Black Film Studies Lacan’s Corrective Fanon and Full Speech Civil Society and Its Discontents What Masters Rediscover in Slaves Conclusion 2: ANTWONE FISHER AND BUSH MAMA THREE: FISHING FOR ANTWONE A View from the Void How Massa Got His STEP Back FOUR: CINEMATIC UNREST BUSH MAMA AND THE BLACK LIBERATION ARMY Was It Just a Fantasy? White Policing from the Left Invitations to the Dance 3: SKINS FIVE: ABSURD MOBILITY SIX: THE ETHICS OF SOVEREIGNTY Governance Religion Land Sovereignty and the Structure of Antagonisms SEVEN: EXCESS LACK EIGHT: THE PLEASURES OF PARITY NINE: “SAVAGE” NEGROPHOBIA 4: MONSTER’S BALL TEN: A CRISIS IN THE COMMONS Negri and Hardt Dancing at the Monster’s Ball Who Took the Form Out of Transformative? ELEVEN: HALF-WHITE HEALING Historical Stillness TWELVE: MAKE ME FEEL GOOD EPILOGUE NOTES Introduction One: The Ruse of Analogy Two: The Narcissistic Slave Three: Fishing for Antwone Four: Cinematic Unrest Five: Absurd Mobility Six: The Ethics of Sovereignty Seven: Excess Lack Eight: The Pleasures of Parity Nine: “Savage” Negrophobia Ten: A Crisis in the Commons Eleven: Half-White Healing Twelve: Make Me Feel Good Epilogue REFERENCES Bibliography Filmography
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