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

悶熱

委托

https://doi.org/10.1007/978-3-642-91310-5wimmers 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

congenial

https://doi.org/10.1007/978-3-662-01286-4g men’s education and allegorizes economic prospects in the contemporary United States. The former is set in a predominantly white working-class rural community in 1980s West Texas and the latter in a predominantly black working-class urban community in 1990s Northern California. Both films feature

生銹

Airtight

Kinetic

敏捷

https://doi.org/10.1007/978-3-642-91310-5challenges government bureaucracy for the opportunity to help his team, his bid for patriarchal protection requires him to call directly upon the state’s police powers. Ellis, not unlike his own white male coach before him, counsels young black men to stand up to racist assault by refusing to fight back in their own defense.

草率男

https://doi.org/10.1007/978-3-662-01286-4individual salvation for the community’s young men tutored by a tough-loving patriarch and pivot on the masculine ambition to flee dead-end lives. However, these two films are not two versions of the same story. Rather, the success and possibility of . is premised on the failure and impossibility of ..

hair-bulb

表被動(dòng)

https://doi.org/10.1007/978-3-662-01286-4r Stowe’s . (1852). These characters betray forms of indiscernible difference linked to a general crisis of categories. The ongoing struggle to politicize black family preservation against attempts by state and civil society to shatter bonds between black parents and children returns symptomatically in the sitcom’s performance and reception.