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Red, White & Black: Cinema and the Structure of U.S. Antagonisms

Frank B. Wilderson III
4.9/5 (27771 ratings)
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Description:Red, White & Black is a provocative critique of socially engaged films and the 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.We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with Red, White & Black: Cinema and the Structure of U.S. Antagonisms. To get started finding Red, White & Black: Cinema and the Structure of U.S. Antagonisms, you are right to find our website which has a comprehensive collection of manuals listed.
Our library is the biggest of these that have literally hundreds of thousands of different products represented.
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PDF, EPUB & Kindle Edition
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0822346923

Red, White & Black: Cinema and the Structure of U.S. Antagonisms

Frank B. Wilderson III
4.4/5 (1290744 ratings)
Read Now Download now ⏭ listen AudioBook
Description: Red, White & Black is a provocative critique of socially engaged films and the 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.We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with Red, White & Black: Cinema and the Structure of U.S. Antagonisms. To get started finding Red, White & Black: Cinema and the Structure of U.S. Antagonisms, you are right to find our website which has a comprehensive collection of manuals listed.
Our library is the biggest of these that have literally hundreds of thousands of different products represented.
Pages
—
Format
PDF, EPUB & Kindle Edition
Publisher
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Release
—
ISBN
0822346923

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