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As indelible components of the history of the United States, race and racism have permeated nearly all aspects of life: cultural, economic, political, and social. In this first anthology on race in early cinema, fourteen scholars examine the origins, dynamics, and ramifications of racism and Eurocentrism and the resistance to both during the early years of American motion pictures. Any discussion of racial themes and practices in any arena inevitably begins with the definition of race. Is race an innate and biologically determined "essence" or is it a culturally constructed category? Is the question irrelevant? Perhaps race exists as an ever-changing historical and social formation that, regardless of any standard definition, involves exploitation, degradation, and struggle. In his introduction, Daniel Bernardi writes that "early cinema has been a clear partner in the hegemonic struggle over the meaning of race" and that it was steadfastly aligned with a Eurocentric world view at the expense of those who didn't count as white. The contributors to this work tackle these problems and address such subjects as biological determinism, miscegenation, Manifest Destiny, assimilation, and nativism and their impact on early cinema. Analyses of The Birth of a Nation, Romona, Nanook of the North and Madame Butterfly and the directorial styles of D. W. Griffith, Oscar Micheaux, and Edwin Porter are included in the volume.
Birth of a White Nation, Second Edition examines the social construction of race through the invention of white people. Surveying colonial North American law and history, the book interrogates the origins of racial inequality and injustice in American society, and details how the invention still serves to protect the ruling elite to the present day. This second edition documents the proliferation of ideas imposed and claimed throughout history that have conspired to give content, form, and social meaning to one’s racial classification. Beginning its expanded narrative with the development of diverse Native American societies through contact with European colonizers in the Tidewater region, and progressing to the emigration of Mexicans, Irish, and other "non-whites", this new edition addresses the ongoing production and reproduction of whiteness as a distinct and dominant social category. It also looks to the future by developing a new, applied framework for countering racial inequality and promoting greater awareness of anti-racist policies and practices. Birth of a White Nation will be of great interest to students, scholars, and general readers seeking to make sense of the dramatic racial inequities of our time and to forge an antiracist path forward.
A New York Times Bestseller This terrific new book…[explores] the ‘notion of whiteness,’ an idea as dangerous as it is seductive." —Boston Globe Telling perhaps the most important forgotten story in American history, eminent historian Nell Irvin Painter guides us through more than two thousand years of Western civilization, illuminating not only the invention of race but also the frequent praise of “whiteness” for economic, scientific, and political ends. A story filled with towering historical figures, The History of White People closes a huge gap in literature that has long focused on the non-white and forcefully reminds us that the concept of “race” is an all-too-human invention whose meaning, importance, and reality have changed as it has been driven by a long and rich history of events.
Why are there so few Black filmmakers who control their own work? Why are there scarcely any Black women behind the camera? What happens to Black filmmakers when they move from independent production to the mainstream? What does it mean for whites to control Black images and their distribution globally? And, was it always so? Could it be different? In this vivid portrait of their historic and present-day contributions, Jesse Rhines explores the roles African American men and women have played in the motion picture business from 1915 to the present. He illuminates his discussion by carefully linking the history of early Black filmmaking to the current success of African American filmmakers and examines how African Americans have been affected by changes that have taken place in the industry as a whole. He focuses on the crucial role of distribution companies, the difficulty of raising money for production, the compromises that directors and writers must make to get funding, and the effect of negative, sensationalistic images on the Black community. Many well-known directors, including Spike Lee, Reginald Hudlin, and Grace Blake are interviewed in the book, allowing Rhines to give readers an inside look at how deal making does--or does not--work. Rhines surveys significant eras in film history and their impact on African Americans, from the silent era and the impact of The Birth of a Nation, through the emergence of the Black-owned Lincoln Motion Picture Company, and the later introduction of sound, to the postwar era, the antitrust suit against Paramount Pictures, the introduction of television, and Blaxploitation movies that won audiences back. He brings the story up to date with present-day blockbusters and the success of Spike Lee, who began as an independent and became a force in the industry, and others who hope to follow in Lee's footsteps. Rhines, who has worked behind the camera himself, reflects on independent filmmaking, the risks of both failure and success, and his hope for positive change in the African African community if more African American filmmakers can come to the forefront in the business.
The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. In this “vital, necessary, and beautiful book” (Michael Eric Dyson), antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’ (Claudia Rankine). Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo examines how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively.
'...from time to time a study comes along that truly can be called ‘path breaking,’ ‘seminal,’ ‘essential,’ a ‘must read.’ How the Irish Became White is such a study.' John Bracey, W.E.B. Du Bois Department of Afro-American Studies, University of Massachussetts, Amherst The Irish came to America in the eighteenth century, fleeing a homeland under foreign occupation and a caste system that regarded them as the lowest form of humanity. In the new country – a land of opportunity – they found a very different form of social hierarchy, one that was based on the color of a person’s skin. Noel Ignatiev’s 1995 book – the first published work of one of America’s leading and most controversial historians – tells the story of how the oppressed became the oppressors; how the new Irish immigrants achieved acceptance among an initially hostile population only by proving that they could be more brutal in their oppression of African Americans than the nativists. This is the story of How the Irish Became White.
Racism and imperialism are the twin forces that propelled the course of the United States in the world in the early twentieth century and in turn affected the way that diplomatic history and international relations were taught and understood in the American academy. Evolutionary theory, social Darwinism, and racial anthropology had been dominant doctrines in international relations from its beginnings; racist attitudes informed research priorities and were embedded in newly formed professional organizations. In White World Order, Black Power Politics, Robert Vitalis recovers the arguments, texts, and institution building of an extraordinary group of professors at Howard University, including Alain Locke, Ralph Bunche, Rayford Logan, Eric Williams, and Merze Tate, who was the first black female professor of political science in the country.Within the rigidly segregated profession, the "Howard School of International Relations" represented the most important center of opposition to racism and the focal point for theorizing feasible alternatives to dependency and domination for Africans and African Americans through the early 1960s. Vitalis pairs the contributions of white and black scholars to reconstitute forgotten historical dialogues and show the critical role played by race in the formation of international relations.
'Why are you making this about race?' This question is repeated daily in public and in the media. Calling someone racist in these times of mounting white supremacy seems to be a worse insult than racism itself. In our supposedly post-racial society, surely it’s time to stop talking about race? This powerful refutation is a call to notice not just when and how race still matters but when, how and why it is said not to matter. Race critical scholar Alana Lentin argues that society is in urgent need of developing the skills of racial literacy, by jettisoning the idea that race is something and unveiling what race does as a key technology of modern rule, hidden in plain sight. Weaving together international examples, she eviscerates misconceptions such as reverse racism and the newfound acceptability of 'race realism', bursts the 'I’m not racist, but' justification, complicates the common criticisms of identity politics and warns against using concerns about antisemitism as a proxy for antiracism. Dominant voices in society suggest we are talking too much about race. Lentin shows why we actually need to talk about it more and how in doing so we can act to make it matter less.
The racist legacy behind the Western idea of freedom The era of the Enlightenment, which gave rise to our modern conceptions of freedom and democracy, was also the height of the trans-Atlantic slave trade. America, a nation founded on the principle of liberty, is also a nation built on African slavery, Native American genocide, and systematic racial discrimination. White Freedom traces the complex relationship between freedom and race from the eighteenth century to today, revealing how being free has meant being white. Tyler Stovall explores the intertwined histories of racism and freedom in France and the United States, the two leading nations that have claimed liberty as the heart of their national identities. He explores how French and American thinkers defined freedom in racial terms and conceived of liberty as an aspect and privilege of whiteness. He discusses how the Statue of Liberty—a gift from France to the United States and perhaps the most famous symbol of freedom on Earth—promised both freedom and whiteness to European immigrants. Taking readers from the Age of Revolution to today, Stovall challenges the notion that racism is somehow a paradox or contradiction within the democratic tradition, demonstrating how white identity is intrinsic to Western ideas about liberty. Throughout the history of modern Western liberal democracy, freedom has long been white freedom. A major work of scholarship that is certain to draw a wide readership and transform contemporary debates, White Freedom provides vital new perspectives on the inherent racism behind our most cherished beliefs about freedom, liberty, and human rights.
FROM HAN KANG, WINNER OF THE 2024 NOBEL PRIZE IN LITERATURE “[Han Kang writes in] intense poetic prose that . . . exposes the fragility of human life.”—from the Nobel Prize citation SHORTLISTED FOR THE BOOKER PRIZE • A “formally daring, emotionally devastating, and deeply political” (The New York Times Book Review) exploration of personal grief through the prism of the color white, from the internationally bestselling author of The Vegetarian “Stunningly beautiful writing . . . delicate and gorgeous . . . one of the smartest reflections on what it means to remember those we’ve lost.”—NPR While on a writer’s residency, a nameless narrator focuses on the color white to creatively channel her inner pain. Through lyrical, interconnected stories, she grapples with the tragedy that has haunted her family, attempting to make sense of her older sister’s death using the color white. From trying to imagine her mother’s first time producing breast milk to watching the snow fall and meditating on the impermanence of life, she weaves a poignant, heartfelt story of the omnipresence of grief and the ways we perceive the world around us. In captivating, starkly beautiful language, The White Book offers a multilayered exploration of color and its absence, of the tenacity and fragility of the human spirit, and of our attempts to graft new life from the ashes of destruction.