"I believe the concept of race itself as a discrete, qualitative categorization of human beings is a cognitive illusion."
"Many people seem to think there is a gene for race with three settings— White, Black, and Asian. So-called racial differences are the accumulated sum of many slight, mostly surface, variations in physical features involving, among other things, the fold of the eyelids, hair texture, and the amount of epidermal pigmentation, in various permutations and gradations. "
"Variation in skin pigmentation is an evolutionary response to differences in the directness of sunlight across geographical localities, whereby skin color balances protection against ultraviolet radiation with allowance of sunlight needed for formation of Vitamin D."
"These cosmetic “racial” differences vary in a gradual continuity across locations of ancestral origin. It is only in the human mind that a simplified"
https://www.bpc.org.uk/sites/psychoanalytic-council.org/files/BPC%20Bibliography%20(race,%20racism%20and%20ethnicity)%20.pdf
Cook, P., & Bernink, M. (1999). The cinema book. London: BFI Pub.
"These cosmetic “racial” differences vary in a gradual continuity across locations of ancestral origin. It is only in the human mind that a simplified"
https://www.bpc.org.uk/sites/psychoanalytic-council.org/files/BPC%20Bibliography%20(race,%20racism%20and%20ethnicity)%20.pdf
Cook, P., & Bernink, M. (1999). The cinema book. London: BFI Pub.
"Hollywood' interest in black film-making seems another version of niche marketing; they remain interested so long as the film provide the successful economic returns that a number of them have achieved.
"Using ethnographic methods and interviews of members in a local hip-hop scene, I argue that colorblind ideology provides whites with the discursive resources to justify their presence in the scene, and more important, to appropriate hip-hop by removing the racially coded meanings embedded in the music and replacing them with color-blind ones"
"Furthermore, it extends our understanding of how color-blind ideology operates in practice, enabling whites with the discursive resources and racial power to culturally appropriate hip-hop, however unintentionally, for their own purposes."
Nama, A. (2015). Race on the QT: Blackness and the films of Quentin Tarantino. Austin: University of Texas Press.
“In contrast to the established history of Hollywood films advancing trite and racist presentations of black enslavement, a wave of militant black slave films did crop up during the high tide of Blaxploitation films in the 1970s, having appropriated the last vestiges of political verve from a waning Black Power movement.”
“In contrast to the established history of Hollywood films advancing trite and racist presentations of black enslavement, a wave of militant black slave films did crop up during the high tide of Blaxploitation films in the 1970s, having appropriated the last vestiges of political verve from a waning Black Power movement.”
“In succeeding decades, the overall impact of these representational valances around the deception of African American enslavement in American films was a political mixed bag.”
“Similar to Django Unchained, the main character in 12 Years a Slave is on a quest to reunite with this family after being enslaved for more than a decade. But the tale told by Solomon Northup is a true adaptation of this harrowing proportion of his life…From here, the film explores the daily struggles of enslavement for black folk.
“Yet, despite the psychosexual depravity that is the currency of 12 Years a Slave, it is less a horror film than Django Unchained. Rather 12 Years a Slave relies more on the emotional valances of loss, shame and despair.”
“Fittingly, much has been made of Django Unchained as a black spaghetti western that fashions its cowboy style out of Sergio Leone’s A Fistful of Dollars (1964) and The Good, the Bad and the Ugly (1966) and Sergio Corbucci’s original Django (196)”
“The fanciful is first signaled in the style and speech of Dr. Shultz, a ruthless bounty hunter with aristocratic flair and magniloquent speech patterns”
“Arguably, the character is a symbolic nod to the image of the white abolitionist as an erudite social reformer of tastes and traditions somewhat distinct from American common folk.”
Lawrence, N. (2008). Blaxploitation films of the 1970s: Blackness and genre. New York: Routledge.
"As previously noted, black explotiation films are defined as motion picturres made by both black and white filmmakers between 1970 and 75 in order to exploit the black film audience.
"First, many blaxploitation films were traditional genre films. However, the movies did not exploit specific events. Instead, blaxploitation films often included an intertextual relay within the narrative that focused no past and present issues plaguing America's black population."
Garcia, C. O., Young, V. A., & Pimentel, C. (2014). From Uncle Tom's Cabin to The Help: Critical perspectives on White-authored narratives of Black life. New York, NY: Palgrave Macmillan.
"Although Django Unchained is supposedly a depiction of slavery, it is more truly a part of the spaghetti Western genre, in every sense of the word. Even the title, Django, is the same name as a 1960s spaghetti Western film made by Italian filmmaker Sergio Corbucci.
"In order to understand the stereotypical deceptions of slavery and the enslaved in slave-genre Hollywood films, one must understand the ideological contours of racism in the United States"
Young, L. (1996). Fear of the dark: 'race', gender, and sexuality in the cinema. London: Routledge.
"White people have seen the black Other as an object of and for investigation, and the subject of 'race' relations discourse. In contrast to the effacement and naturalizing of their ethnic location by white film-makers, black cultural practitioners have continually examined their position as specifically black subjects within white cultures."
“Yet, despite the psychosexual depravity that is the currency of 12 Years a Slave, it is less a horror film than Django Unchained. Rather 12 Years a Slave relies more on the emotional valances of loss, shame and despair.”
“Fittingly, much has been made of Django Unchained as a black spaghetti western that fashions its cowboy style out of Sergio Leone’s A Fistful of Dollars (1964) and The Good, the Bad and the Ugly (1966) and Sergio Corbucci’s original Django (196)”
“The fanciful is first signaled in the style and speech of Dr. Shultz, a ruthless bounty hunter with aristocratic flair and magniloquent speech patterns”
“Arguably, the character is a symbolic nod to the image of the white abolitionist as an erudite social reformer of tastes and traditions somewhat distinct from American common folk.”
Lawrence, N. (2008). Blaxploitation films of the 1970s: Blackness and genre. New York: Routledge.
"As previously noted, black explotiation films are defined as motion picturres made by both black and white filmmakers between 1970 and 75 in order to exploit the black film audience.
"First, many blaxploitation films were traditional genre films. However, the movies did not exploit specific events. Instead, blaxploitation films often included an intertextual relay within the narrative that focused no past and present issues plaguing America's black population."
Garcia, C. O., Young, V. A., & Pimentel, C. (2014). From Uncle Tom's Cabin to The Help: Critical perspectives on White-authored narratives of Black life. New York, NY: Palgrave Macmillan.
"Although Django Unchained is supposedly a depiction of slavery, it is more truly a part of the spaghetti Western genre, in every sense of the word. Even the title, Django, is the same name as a 1960s spaghetti Western film made by Italian filmmaker Sergio Corbucci.
"In order to understand the stereotypical deceptions of slavery and the enslaved in slave-genre Hollywood films, one must understand the ideological contours of racism in the United States"
Young, L. (1996). Fear of the dark: 'race', gender, and sexuality in the cinema. London: Routledge.
"White people have seen the black Other as an object of and for investigation, and the subject of 'race' relations discourse. In contrast to the effacement and naturalizing of their ethnic location by white film-makers, black cultural practitioners have continually examined their position as specifically black subjects within white cultures."
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