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Titlebook: Black Masculinity and the Cinema of Policing; Jared Sexton Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 representations

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發(fā)表于 2025-3-21 17:16:38 | 只看該作者 |倒序瀏覽 |閱讀模式
期刊全稱Black Masculinity and the Cinema of Policing
影響因子2023Jared Sexton
視頻videohttp://file.papertrans.cn/189/188959/188959.mp4
發(fā)行地址Examines contemporary film and television representations of black men and boys as surrogate figures of state authority, unwanted wards of state welfare, and principal targets of state violence.Argues
圖書封面Titlebook: Black Masculinity and the Cinema of Policing;  Jared Sexton Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 representations
影響因子.This book offers a critical survey of film and media representations of black masculinity in the early twenty-first-century United States, between President George W. Bush’s 2001 announcement of the War on Terror and President Barack Obama’s 2009 acceptance of the Nobel Peace Prize. It argues that images of black masculine authority have become increasingly important to the legitimization of contemporary policing and its leading role in the maintenance of an antiblack social order forged by racial slavery and segregation. It examines a constellation of film and television productions—from Antoine Fuqua’s .Training Day. to John Lee Hancock’s .The Blind Side.?to Barry Jenkin‘s .Moonlight.—to illuminate the contradictory dynamics at work in attempts to reconcile the promotion of black male patriarchal empowerment and the preservation of gendered antiblackness within political and popular culture..
Pindex Book 2017
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發(fā)表于 2025-3-21 22:21:28 | 只看該作者
History and Power: On ,,wimmers for the US Olympic Team. It discusses the film’s favorable portrayal of Ellis within the history of racially segregated swimming, and the exploitation of African swimming skills under slavery, in order to comprehend the construction of the stereotype that “blacks can’t swim.” Although Ellis
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Comedy and Romance: On , and ,,ntary on the racial politics of kinship. It takes Bernie Kukoff and Jeff Harris’s . (1978–1986) and Stu Silver’s . (1983–1989) as prime examples. It traces black man-child characters of 1970s and 1980s primetime programming to Buckwheat of the . film series (1922–1944) and to Topsy of Harriet Beeche
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Shadow and Myth: On , and ,, transferring to a higher security facility. It explores . within the context of Dunye’s meditation on the psycho-politics of black kinship as a matrix of disinheritance. Black female masculinity here questions the relation between a state-sanctioned interdiction of black kinship and the willingness
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