53,99 €
The Subject of Film and Race
The Subject of Film and Race
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The Subject of Film and Race
The Subject of Film and Race
El. knyga:
53,99 €
The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have tried to understand cinema's relationship to racial ideology. In trying to do more than merely identify harmful stereotypes, prominent research by scholars of 'films and race' appropriates ideas from what is known as post-structuralist theory. On those platforms however, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presentin…

The Subject of Film and Race (el. knyga) (skaityta knyga) | knygos.lt

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The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have tried to understand cinema's relationship to racial ideology. In trying to do more than merely identify harmful stereotypes, prominent research by scholars of 'films and race' appropriates ideas from what is known as post-structuralist theory. On those platforms however, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim's historical materialist approach uniquely triangulates the critical insights of well-known work by Edward Said, in addition to Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. With compelling discussions of a diverse set of familiar films by John Ford,Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, it shows that we must also be aware of capitalist history when thinking about race, ethnicity, and films.
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The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have tried to understand cinema's relationship to racial ideology. In trying to do more than merely identify harmful stereotypes, prominent research by scholars of 'films and race' appropriates ideas from what is known as post-structuralist theory. On those platforms however, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim's historical materialist approach uniquely triangulates the critical insights of well-known work by Edward Said, in addition to Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. With compelling discussions of a diverse set of familiar films by John Ford,Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, it shows that we must also be aware of capitalist history when thinking about race, ethnicity, and films.

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