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Passing and Posing between Black and White

Since its inception, U.S. American cinema has grappled with the articulation of racial boundaries. This applies, in the first instance, to featuring mixed-race characters crossing the color line. In a broader sense, however, this also concerns viewing conditions and knowledge configurations. The fac...

Szczegółowa specyfikacja

Zapisane w:
1. autor: Gotto, Lisa
Format: Online
Język:angielski
Wydane: transcript Verlag 2024
Hasła przedmiotowe:
Film
Cinema
Hollywood
Race
Ethnicity
Media
Culture
Racism
Cultural History
America
Media Studies
thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCT Media studies
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies::JBSL1 Ethnic groups and multicultural studies
thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTB Social and cultural history
Dostęp online:ONIX_20240408_9783839453377_23
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Streszczenie:Since its inception, U.S. American cinema has grappled with the articulation of racial boundaries. This applies, in the first instance, to featuring mixed-race characters crossing the color line. In a broader sense, however, this also concerns viewing conditions and knowledge configurations. The fact that American film engages itself so extensively with the unbalanced relation between black and white is neither coincidental nor trivial to state — it has much more to do with disputing boundaries that pertain to the medium itself. Lisa Gotto examines this constellation along the early history of American film, the cinematic modernism of the late 1950s, and the post-classical cinema of the turn of the millennium.

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