The United States has taken a long and winding road to racial equality, especially as it pertains to relations between blacks and whites. On November 4, 2008, when Barack Hussein Obama was elected as the forty-fourth President of the United States and first black person to occupy the highest office in the land, many wondered whether that road had finally come to an end. Do we now live in a post-racial nation?
According to this book's contributors, a more nuanced and contemporary analysis and measurement of racial attitudes undercuts this assumption. They contend that despite the election of the first black President and rise of his family as possibly the most recognized family in the world, race remains a salient issue-particularly in the United States. Looking beyond public behaviors and how people describe their own attitudes, the contributors draw from the latest research to show how, despite the Obama family's rapid rise to national prominence, many Americans continue to harbor unconscious, anti-black biases. But there are whispers of change. The Obama family's position may yet undermine, at the unconscious level, anti-black attitudes in the United States and abroad. The prominence of the Obamas on the world stage and the image they project may hasten the day when America is indeed post-racial, even at the implicit level.

Discussions of race are inevitably fraught with tension, both in opinion and positioning. Too frequently, debates are framed as clear points of oppositionOCous versus them. And when considering white racial identity, a split between progressive movements and a neoconservative backlash is all too frequently assumed. Taken at face value, it would seem that whites are splintering into antagonistic groups, with differing worldviews, values, and ideological stances.
"White Bound" investigates these dividing lines, questioning the very notion of a fracturing whiteness, and in so doing offers a unique view of white racial identity. Matthew Hughey spent over a year attending the meetings, reading the literature, and interviewing members of two white organizationsOCoa white nationalist group and a white antiracist group. Though he found immediate political differences, he observed surprising similarities. Both groups make meaning of whiteness through a reliance on similar racist and reactionary stories and worldviews.
On the whole, this book puts abstract beliefs and theoretical projection about the supposed fracturing of whiteness into relief against the realities of two groups never before directly compared with this much breadth and depth. By examining the similarities and differences between seemingly antithetical white groups, we see not just the many ways of being white, but how these actors make meaning of whiteness in ways that collectively reproduce both white identity and, ultimately, white supremacy.

Discussions of race are inevitably fraught with tension, both in opinion and positioning. Too frequently, debates are framed as clear points of opposition--us versus them. And when considering white racial identity, a split between progressive movements and a neoconservative backlash is all too frequently assumed. Taken at face value, it would seem that whites are splintering into antagonistic groups, with differing worldviews, values, and ideological stances.
"White Bound" investigates these dividing lines, questioning the very notion of a fracturing whiteness, and in so doing offers a unique view of white racial identity. Matthew Hughey spent over a year attending the meetings, reading the literature, and interviewing members of two white organizations--a white nationalist group and a white antiracist group. Though he found immediate political differences, he observed surprising similarities. Both groups make meaning of whiteness through a reliance on similar racist and reactionary stories and worldviews.
On the whole, this book puts abstract beliefs and theoretical projection about the supposed fracturing of whiteness into relief against the realities of two groups never before directly compared with this much breadth and depth. By examining the similarities and differences between seemingly antithetical white groups, we see not just the many ways of being white, but how these actors make meaning of whiteness in ways that collectively reproduce both white identity and, ultimately, white supremacy.

The cinematic trope of the white savior film-think of Sandra Bullock in The Blind Side, Kevin Costner in Dances with Wolves, or Tom Cruise in The Last Samurai--features messianic characters in unfamiliar or hostile settings discovering something about themselves and their culture in the process of saving members of other races from terrible fates. In The White Savior Film, Matthew Hughey provides a cogent, multipronged analysis of this subgenre of films to investigate the underpinnings of the Hollywood-constructed images of idealized (and often idealistic) white Americans. Hughey considers the production, distribution, and consumption of white savior films to show how the dominant messages of sacrifice, suffering, and redemption are perceived by both critics and audiences. Examining the content of fifty films, nearly 3,000 reviews, and interviews with viewer focus groups, he accounts for the popularity of this subgenre and its portrayal of "racial progress." The White Savior Film shows how we as a society create and understand these films and how they reflect the political and cultural contexts of their time.

The cinematic trope of the white savior film-think of Sandra Bullock in The Blind Side, Kevin Costner in Dances with Wolves, or Tom Cruise in The Last Samurai--features messianic characters in unfamiliar or hostile settings discovering something about themselves and their culture in the process of saving members of other races from terrible fates. In The White Savior Film, Matthew Hughey provides a cogent, multipronged analysis of this subgenre of films to investigate the underpinnings of the Hollywood-constructed images of idealized (and often idealistic) white Americans. Hughey considers the production, distribution, and consumption of white savior films to show how the dominant messages of sacrifice, suffering, and redemption are perceived by both critics and audiences. Examining the content of fifty films, nearly 3,000 reviews, and interviews with viewer focus groups, he accounts for the popularity of this subgenre and its portrayal of "racial progress." The White Savior Film shows how we as a society create and understand these films and how they reflect the political and cultural contexts of their time.