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Visible and Invisible Whiteness examines the complicity between
Classical Hollywood narratives or genres and representations of
white supremacy in the cinema. Close readings of D.W. Griffith's
The Birth of a Nation by James Agee and James Baldwin explore these
authors' perspectives on the American mythologies which ground
Griffith's film. The intersectionality of Bordwell's theories on
Classical Hollywood Narrative versus Art Cinema and Richard Dyer's
seminal work on whiteness forms the theoretical base for the book.
Featured films are those which have been undervalued or banned due
to their hybrid natures with respect to Hollywood and Art Cinema
techniques, such as Samuel Fuller's White Dog and Jean Renoir's The
Southerner. The book offers comparative analyses of American
studio-based directors as well as European and European emigres
directors. It appeals to scholars of Film Theory, African American
and Whiteness Studies. It provides insight for readers concerned
about the re-emergence of white supremacist tensions in
contemporary America.
In African American fiction, Richard Wright was one of the most
significant and influential authors of the twentieth century.
"Richard Wright in a Post-Racial America" analyses Wright's work in
relation to contemporary racial and social issues, bringing voices
of established and emergent Wright scholars into dialogue with each
other. The essays in this volume show how Wright's best work asks
central questions about national alienation as well as about
international belonging and the trans-national gaze. Race is here
assumed as a superimposed category, rather than a biological
reality, in keeping with recent trends in African-American studies.
Wright's fiction and almost all of his non-fiction lift beyond the
mainstays of African-American culture to explore the potentialities
and limits of black trans-nationalism. Wright's trans-native
status, his perpetual "outsidedness" mixed with the "essential
humanness" of his activist and literary efforts are at the core of
the innovative approaches to his work included here.
Visible and Invisible Whiteness examines the complicity between
Classical Hollywood narratives or genres and representations of
white supremacy in the cinema. Close readings of D.W. Griffith's
The Birth of a Nation by James Agee and James Baldwin explore these
authors' perspectives on the American mythologies which ground
Griffith's film. The intersectionality of Bordwell's theories on
Classical Hollywood Narrative versus Art Cinema and Richard Dyer's
seminal work on whiteness forms the theoretical base for the book.
Featured films are those which have been undervalued or banned due
to their hybrid natures with respect to Hollywood and Art Cinema
techniques, such as Samuel Fuller's White Dog and Jean Renoir's The
Southerner. The book offers comparative analyses of American
studio-based directors as well as European and European emigres
directors. It appeals to scholars of Film Theory, African American
and Whiteness Studies. It provides insight for readers concerned
about the re-emergence of white supremacist tensions in
contemporary America.
Of Latitudes Unknown is a multi-faceted study of James Baldwin's
radical imagination. It is a selective and thoughtful survey that
re-investigates the grounds of Baldwin studies and provides new
critical approaches, subjects, and orientations for Baldwin
criticism. This volume joins recent critical collections in
"un-fragmenting" Baldwin and establishing further conjunctions in
his work: the essay and the novel; the polemical and the aesthetic;
his use of and participation in visual forms; and his American as
well as international identities. But it goes beyond other recent
studies by focusing on new entities of Baldwin's radical
imagination: his English and French language selves; his late
encounters with Africa; his appearances on French television and
interviews with French journalists; and his unrecognized literary
journalism. Of Latitudes Unknown also addresses Baldwin's relations
with the Arab world, his anticipation of contemporary film and
media studies, and his paradoxical public intellectualism. As it
reassesses Baldwin's contributions to and influences on world
literary history, Of Latitudes Unknown equally explores why the
critical appreciation of Baldwin's writing continues to flourish,
and why it remains a vast territory whose parts lie open to much
deeper exploration and elaboration.
Of Latitudes Unknown is a multi-faceted study of James Baldwin's
radical imagination. It is a selective and thoughtful survey that
re-investigates the grounds of Baldwin studies and provides new
critical approaches, subjects, and orientations for Baldwin
criticism. This volume joins recent critical collections in
"un-fragmenting" Baldwin and establishing further conjunctions in
his work: the essay and the novel; the polemical and the aesthetic;
his use of and participation in visual forms; and his American as
well as international identities. But it goes beyond other recent
studies by focusing on new entities of Baldwin's radical
imagination: his English and French language selves; his late
encounters with Africa; his appearances on French television and
interviews with French journalists; and his unrecognized literary
journalism. Of Latitudes Unknown also addresses Baldwin's relations
with the Arab world, his anticipation of contemporary film and
media studies, and his paradoxical public intellectualism. As it
reassesses Baldwin's contributions to and influences on world
literary history, Of Latitudes Unknown equally explores why the
critical appreciation of Baldwin's writing continues to flourish,
and why it remains a vast territory whose parts lie open to much
deeper exploration and elaboration.
In African American fiction, Richard Wright was one of the most
significant and influential authors of the twentieth century.
Richard Wright in a Post-Racial Imaginary analyses Wright's work in
relation to contemporary racial and social issues, bringing voices
of established and emergent Wright scholars into dialogue with each
other. The essays in this volume show how Wright's best work asks
central questions about national alienation as well as about
international belonging and the trans-national gaze. Race is here
assumed as a superimposed category, rather than a biological
reality, in keeping with recent trends in African-American studies.
Wright's fiction and almost all of his non-fiction lift beyond the
mainstays of African-American culture to explore the potentialities
and limits of black trans-nationalism. Wright's trans-native
status, his perpetual "outsidedness" mixed with the "essential
humanness" of his activist and literary efforts are at the core of
the innovative approaches to his work included here.
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