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Whether we consider the digitally created and manipulated faces of
Hollywood cinema or the social media filters, face apps, and
surveillance software of everyday life, reading face language has
become the seemingly endless task of humans and machines alike.
Recent facial controversies - from politicians in blackface to
"deep fakes," casting debates, and facial data collection-- have
made clear the need for a broader understanding of the face on
screen and its varied techniques and effects. This book will
consider the screen face from a variety of perspectives, across
time periods and media, bringing together essays on topics ranging
from early cinema to contemporary digital media - from photogenie
to facial recognition, celebrity culture to digital creatures. It
explores how screen culture builds on and complicates our urge to
search the face for answers to our most intractable questions.
Hollywood at the Intersection of Race and Identity explores the
ways Hollywood represents race, gender, class, and nationality at
the intersection of aesthetics and ideology and its productive
tensions. This collection of essays asks to what degree can a close
critical analysis of films, that is, reading them against their own
ideological grain, reveal contradictions and tensions in
Hollywood's task of erecting normative cultural standards? How do
some films perhaps knowingly undermine their inherent ideology by
opening a field of conflicting and competing intersecting
identities? The challenge set out in this volume is to revisit
well-known films in search for a narrative not exclusively
constituted by the Hollywood formula and to answer the questions:
What lies beyond the frame? What elements contradict a film's
sustained illusion of a normative world? Where do films betray
their own ideology and most importantly what intersectional spaces
of identity do they reveal or conceal?
The Cinema and Its Shadow argues that race has defined the
cinematic apparatus since the earliest motion pictures, especially
at times of technological transition. In particular, this work
explores how racial difference became central to the resolving of
cinematic problems: the stationary camera, narrative form, realism,
the synchronization of image and sound, and, perhaps most
fundamentally, the immaterial image—the cinema’s “shadow,”
which figures both the material reality of the screen image and its
racist past. Discussing early “race subjects,” Alice Maurice
demonstrates that these films influenced cinematic narrative in
lasting ways by helping to determine the relation between stillness
and motion, spectacle and narrative drive. The book examines how
motion picture technology related to race, embodiment, and
authenticity at specific junctures in cinema’s development,
including the advent of narratives, feature films, and sound. In
close readings of such films as The Cheat, Shadows, and
Hallelujah!, Maurice reveals how the rhetoric of race repeatedly
embodies film technology, endowing it with a powerful mix of
authenticity and magic. In this way, the racialized subject became
the perfect medium for showing off, shoring up, and reintroducing
the cinematic apparatus at various points in the history of
American film. Moving beyond analyzing race in purely thematic or
ideological terms, Maurice traces how it shaped the formal and
technological means of the cinema.
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