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From early photographs of disfigured slaves to contemporary representations of bullet-riddled rappers, images of wounded black men have long permeated American culture. While scholars have fittingly focused on the ever-present figure of the hypermasculine black male, little consideration has been paid to the wounded black man as a persistent cultural figure. This book considers images of wounded black men on various stages, including early photography, contemporary art, hip hop, and new media. Focusing primarily on photographic images, Jackson explores the wound as a specular moment that mediates power relations between seers and the seen. Historically, the representation of wounded black men has privileged the viewer in service of white supremacist thought. At the same time, contemporary artists have deployed the figure to expose and disrupt this very power paradigm. Jackson suggests that the relationship between the viewer and the viewed is not so much static as fluid, and that wounds serve as intricate negotiations of power structures that cannot always be simplified into the condensed narratives of victims and victimizers. Overall, Jackson attempts to address both the ways in which the wound has been exploited to patrol and contain black masculinity, as well as the ways in which twentieth century artists have represented the wound to disrupt its oppressive implications
This volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. The essays here explore political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. The book underscores how a discussion of contemporary international horror is not only about genre but about how genre can inform theories of visual cultures and the increasing permeability of their borders.
Since its 2013 premiere, Orange Is the New Black has become Netflix's most watched series, garnering critical praise and numerous awards and advancing the cultural phenomenon of binge-watching. Academic conferences now routinely feature panels discussing the show, and the book on which it is based is popular course material at many universities. Yet little work has been published on OINTB. The series has sparked debate: does it celebrate diversity or is it told from the perspective of white privilege, with characters embodying some of the most racist and sexist stereotypes in television history? This collection of new essays is the first to analyze the show's multiple layers of meaning. Examining Orange Is the New Black from a number of feminist perspectives, the contributors cover topics such as gender, race, class, sexuality, transgenderism, mass incarceration and the prison industrial complex, disability, and sexual assault.
From the popular legend of Pocahontas to the Civil War soap opera Gone with the Wind to countless sculpted heads of George Washington that adorn homes and museums, whole industries have emerged to feed America’s addiction to imaginary histories that cover up the often violent acts of building a homogeneous nation. In Ersatz America, Rebecca Mark shows how this four-hundred-year-old obsession with false history has wounded democracy by creating language that is severed from material reality. Without the mediating touchstones of body and nature, creative representations of our history have been allowed to spin into dangerous abstraction. Other scholars have addressed the artificial qualities of the collective American memory, but what distinguishes Ersatz America is that it does more than simply deconstruct--it provides a map for regeneration. Mark contends that throughout American history, citizen artists have responded to the deadly memorialization of the past with artistic expressions and visual artifacts that exist outside the realm of official language, creating a counter narrative. These examples of what she calls visceral graphism are embodied in and connected to the human experience of indigenous peoples, enslaved Africans, and silenced women, giving form to the unspeakable. We must learn, Mark suggests, to read the markings of these works against the iconic national myths. In doing so, we can shift from being mesmerized by the monumentalism of this national mirage to embracing the regeneration and recovery of our human history.
To be considered innocent is to be viewed as vulnerable to harm and worthy of protection from harm. An innocent person’s pain is recognized, acknowledged, and addressed. Mediated Misogynoir: Erasing Black Women’s and Girls’ Innocence in the Public Imagination interrogates contemporary media culture to illuminate the ways the intersections of anti-blackness and misogyny, i.e., misogynoir, converge to obscure public perceptions of Black women and girls as people with any claim to innocence. When pained images of Black female bodies appear on media devices, the socio-political responses are telling, not only in their lack of urgency, but also in their inability to be read empathetically. By examining viral videos, memes, and recent film and television, Kalima Young makes a striking case for the need to create a new Black feminist media studies framework broad enough to hold the complexity and agency of Black women and girls in a digital age invested in framing them as inherently adulterated and impure.
During the nineteenth century and especially after the Civil War, scores of black abolitionists like Frederick Douglass, Moses Roper and Ellen Craft travelled to England, Ireland, Scotland, and parts of rural Wales to educate the public on slavery. By sharing their oratorical, visual, and literary testimony to transatlantic audiences, African American activists galvanised the antislavery movement, which had severe consequences for former slaveholders, pro-slavery defenders, white racists, and ignorant publics. Their journeys highlighted not only their death-defying escapes from bondage but also their desire to speak out against slavery and white supremacy on foreign soil. Hannah-Rose Murray explores the radical transatlantic journeys formerly enslaved individuals made to the British Isles, and what light they shed on our understanding of the abolitionist movement. She uncovers the reasons why activists visited certain locations, how they adapted to the local political and social climate, and what impact their activism had on British society.
This original and provocative study uses objects-made, collected, and imagined-to examine lynching and racial terror.
Blackness and Disability makes a unique contribution to Disability Studies scholarship. Christopher Bell and the other contributors to this volume help fill a glaring gap in the literature by examining the intersection between race - specifically, blackness - and disability. This volume should be in the library of every Disability Studies scholar. (Series: FORECAAST - Vol. 21)
Acclaimed actor and rap artist Will Smith has achieved a level of Hollywood fame rarely attained by a Black celebrity. Early in his career, Smith aspired to be the world's most famous movie star and being named the world's top film attraction in 2008, fulfilled his goal. While his rise to a place of worldwide prominence and cultural relevance has made him iconic, his accomplishments have not received the full and thorough acknowledgement and analysis they merit. This is the first full-length critical look at the significance of Will Smith's achievements over a more than 30-year career. Many of his films have broken cultural norms by depicting Black men in groundbreaking social settings, like the role of the world-saving hero in his most popular films. In addition to analyzing Smith's filmography, this work contextualizes other popular and common portrayals of Black men in media and society. Finally, this book examines Smith's work in his middle age, ruminating on his ability to adapt to the realities of a new Hollywood.
This volume marks the 25th anniversary of Karin Barber’s ground-breaking article, "Popular Arts in Africa", which stimulated new debates about African popular culture and its defining categories. Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa. Focusing on the streets of Africa, especially city streets where different cultures and cultural personalities meet, the book asks how the category of "the people" is identified and interpreted by African culture-producers, politicians, religious leaders, and by "the people" themselves. The book offers a nuanced, strongly historicized perspective in which African popular cultures are regarded as vehicles through which we can document ordinary people’s vitality and responsiveness to political and social transformations.