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Struggles for Representation examines over 300 non-fiction films by more than 150 African American film/videomakers and includes an extensive filmography, bibliography, and excerpts from interviews with film/videomakers. In eleven original essays, contributors explore the extraordinary scope of these aesthetic and social documents and chart a previously undiscovered territory: documentaries that examine the aesthetic, economic, historical, political, and social forces that shape the lives of black Americans, as seen from their perspectives. Until now, scholars and critics have concentrated on black fiction film and on mainstream non-fiction films, neglecting the groundbreaking body of black non-fiction productions that offer privileged views of American life. Yet, these rich and varied works in film, video, and new electronic media, convey vast stores of knowledge and experience. Although most documentary cannot hope to match fiction film's mass appeal, it is unrivaled in its ability to portray searing, indelible impressions of black life, including concrete views of significant events and moving portraits of charismatic individuals. Documentary footage brings audiences the moments when civil rights protestors were attacked by state troopers; it provides the sights and sounds of Malcom X delivering an electrifying speech, Betty Carter performing a heart-wrenching song, and Langston Hughes strolling on a beach. Uniting all of this work is the "struggle for representation" that characterizes each film–an urgent desire to convey black life in ways that counter the uninformed and often distorted representations of mass media film and television productions. African American documentaries have long been associated with struggles for social and political empowerment; for many film/videomakers, documentary is a compelling mode with which to present an alternative, more authentic narrative of black experiences and an effective critique of mainstream discourse. Thus, many socially and politically committed film/videomakers view documentary as a tool with which to interrogate and reinvent history; their works fill gaps, correct errors, and expose distortions in order to provide counter-narratives of African American experience. Contributors include Paul Arthur, Houston A. Baker, Jr., Mark F. Baker, Pearl Bowser, Janet K. Cutler Manthia Diawara, Elizabeth Amelia Hadley, Phyllis R. Klotman, Tommy Lee Lott, Erika Muhammad, Valerie Smith, and Clyde Taylor.
A drunken Irish maid slips and falls. A greedy Jewish pawnbroker lures his female employee into prostitution. An African American man leers at a white woman. These and other, similar images appeared widely on stages and screens across America during the early twentieth century. In this provocative study, M. Alison Kibler uncovers, for the first time, powerful and concurrent campaigns by Irish, Jewish and African Americans against racial ridicule in popular culture at the turn of the twentieth century. Censoring Racial Ridicule explores how Irish, Jewish, and African American groups of the era resisted harmful representations in popular culture by lobbying behind the scenes, boycotting particular acts, and staging theater riots. Kibler demonstrates that these groups' tactics evolved and diverged over time, with some continuing to pursue street protest while others sought redress through new censorship laws. Exploring the relationship between free expression, democracy, and equality in America, Kibler shows that the Irish, Jewish, and African American campaigns against racial ridicule are at the roots of contemporary debates over hate speech.
"Examines the importance of culture in the push for black political power and social recognition and argues the key black cultural practices have been notable in reconfiguring the shape and texture of social and cultural life in the U.S. Drawing on examples from jazz, television, and academia, Gray highlights cultural strategies for inclusion in the dominant culture as well as cultural tactics that move beyond the quest for mere recognition by challenging, disrupting, and unsettling dominant cultural representations and institutions. In the end, Gray challenges the conventional wisdom about the centrality of representation and politics in black cultural production"--Provided by publisher.
Over the last two decades, indigenous populations in Latin America have achieved a remarkable level of visibility and political effectiveness, particularly in Ecuador and Bolivia. In Struggles of Voice, Jose Antonio Lucero examines these two outstanding examples in order to understand their different patterns of indigenous mobilization and to reformulate the theoretical model by which we link political representation to social change. Building on extensive fieldwork, Lucero considers Ecuador's united indigenous movement and compares it to the more fragmented situation in Bolivia. He analyzes the mechanisms at work in political and social structures to explain the different outcomes in each case. Lucero assesses the intricacies of the many indigenous organizations and the influence of various NGOs to uncover how the conflicts within social movements, the shifting nature of indigenous identities, and the politics of transnationalism all contribute to the success or failure of political mobilization.Blending philosophical inquiry with empirical analysis, Struggles of Voice is an informed and incisive comparative history of indigenous movements in these two Andean countries. It helps to redefine our understanding of the complex intersections of social movements and political representation.
Throughout Africa, growing numbers of women are coming together and making their voices heard, mobilising around causes ranging from democracy and land rights to campaigns against domestic violence. In Tanzania and Tunisia, women have made major gains in their struggle for equal political rights, and in Sierra Leone and Liberia women have been at the forefront of efforts to promote peace and reconciliation. While some of these movements have been influenced by international feminism and external donors, increasingly it is African women who are shaping the global struggle for women’s rights. Bringing together African authors who themselves are part of the activist groups, this collection represents the only comprehensive and up-to-date overview of women’s movements in contemporary Africa. Drawing on case studies and fresh empirical material from across the continent, the authors challenge the prevailing assumption that notions of women’s rights have trickled down from the global north to the south, showing instead that these movements have been shaped by above all the unique experiences and concerns of the local women involved.
"With a new introduction, Herman Gray's classic investigation of television and race shows how the meaning of blackness on-screen has changed over the years by examining the portrayal of blacks on series such as The Jack Benny Show and Amos 'n' Andy, continuing through The Cosby Show and In Living Color."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The book examines several models which have been advocated for a workable and acceptable solution to the Kurdish problem which would be absolutely necessary for stability in the West Asian region. The book evaluates how the more than two-decade long experience of Kurdish self-rule in a democratic framework in Iraqi Kurdistan affects the debate over the other Kurdish regions in West Asia. With Turkey’s European Union accession process contributing to the opening of the political space to ethno-nationalism, there is a need for a non-military solution to the Kurdish issue. The book analyses the role of Kurdish diaspora which plays a significant part in placing the Kurdish question on the European political agenda. It also examines the role of the Kurds in the aftermath of the Arab Spring and the changing geopolitics in the region. Now, the Kurds maintain the strongest platform in battling against the ISIS terrorists.
This book analyzes how American painters, sculptors, and writers, active between 1800 and 1865, depicted their response to a democratic society that failed to adequately support them financially and intellectually. Without the traditional European forms of patronage from the church or the crown, American artists faced unsympathetic countrymen who were unaccustomed to playing the role of patron and less than generous in rewarding creativity. It was in this unrewarding landscape that American artists in the first half of the nineteenth century employed the “struggling” or “starving artist” image to criticize the country’s lack of patronage and immortalize their own struggles. Although the concept of the struggling artist is well known, only a select few artists chose to represent themselves in this negative manner. Using works from five decades, Schneider demonstrates how the artists, such as Washington Allston, Charles Bird King, David Gilmour Blythe, represented a larger phenomenon of artistic struggle in America. The artists’ journals, letters, and biographies reveal how native artists’ desire to create imaginative works came in conflict with American patrons’ more practical interests in portraiture and later in the century, genre work. If artists wanted to avoid financial struggle, they had to learn to capitulate to patrons’ demands. This intellectual struggle would prove the most difficult. In addition to the fine arts, the struggling artist type in essays, poems, short stories, and novels, whose tales mirror the frustrations facing fine artists, are also considered. Through an examination of the development of art academies and exhibition venues, this study traces the evolution of a young nation that went from considering artists as mere craftsmen to recognizing them as important members of a civilized society.
The concept of everyday struggles can enliven our understanding of the lives of young people and how social class is made and remade. This book invokes a Bourdieusian spirit to think about the ways young people are pushed and pulled by the normative demands directed at them from an early age, whilst they reflexively understand that allegedly available incentives for making the ‘right’ choices and working hard – financial and familial security, social status and job satisfaction – are a declining prospect. In Youth, Class and Everyday Struggles, the figures of those classed as 'hipsters' and 'bogans' are used to analyse how representation works to form a symbolic and moral economy that produces and polices fuzzy class boundaries. Further to this, the practices of young people around DIY cultures are analysed to illustrate struggles to create a satisfying and meaningful existence while negotiating between study, work and creative passions. By thinking through different modalities of struggles, which revolve around meaning making and identity, creativity and authenticity, Threadgold brings Bourdieu’s sociological practice together with theories of affect, emotion, morals and values to broaden our understanding of how young people make choices, adapt, strategise, succeed, fail and make do. Youth, Class and Everyday Struggles will appeal to undergraduate and postgraduate students, as well as postdoctoral researchers, of fields including: Youth Studies, Class and Inequality, Work and Careers, Subcultures, Media and Creative Industries, Social Theory and Bourdieusian Theory.