DOCSLIB.ORG

Diplomarbeit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit Von „Supermamma/Macho-Goddess“ zu Oscar Repräsentationen und Stereotypen Afrikanisch- Amerikanischer Frauen im mainstream Kino Hollywoods (inkl. Fallbeispielen von 1972-2004) Verfasserin Isabella Schulmeister angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. A 307 301 Studienblatt: Studienrichtung lt. Studienblatt: Kultur- und Sozialanthropologie Betreuerin / Betreuer: Univ.-Prof. Mag. DDr. Werner Zips 2 1 Danksagung .................................................................................. 5 2 Einleitung ......................................................................................6 3 Cultural Studies im Überblick .......................................................11 3.1 Strukturalismus ............................................................................ 12 3.1.1 Der semiotische Ansatz nach Saussure........................................... 12 3.1.2 Strukturalismus und Anthropologie................................................ 14 3.2 Ideologiekritik und Cultural Studies ................................................. 15 3.2.1 Althusser und der Marx’sche Ideologiebegriff................................... 15 3.2.2 Kodieren/Dekodieren.................................................................... 17 3.3 Poststrukturalismus und Dekonstruktion ........................................... 18 3.3.1 Derridas Dekonstruktion und Differánce..........................................19 3.3.2 Foucaults Diskurs......................................................................... 20 3.4 Populärkultur und populäre Vergnügen ............................................. 22 3.5 Hegemonietheorie nach Gramsci ...................................................... 24 3.6 Identität, Indentitätskonzepte, Differenz ........................................... 25 3.6.1 Kollektive Idenitäten und Identitätspolitik........................................ 27 3.6.2 Identifikation............................................................................... 28 3.6.3 Differenz, Der Andere, Ethnizität.................................................... 28 3.7 Feminismus in den Cultural Studies .................................................. 29 4 Kulturelle Repräsentation ............................................................. 33 4.1 Theorien über Repräsentation .......................................................... 36 4.2 Bedeutung durch Differenz .............................................................. 38 4.3 Racial Difference und Stereotypen im Film ......................................... 40 4.4 Stereotypisierung als Signifying Practice ........................................... 46 5 Film Studies – Ein Überblick .......................................................... 50 5.1 Die Sprache des Films .................................................................... 52 5.1.1 Filmanalyse – einige grundlegende Punkte...................................... 52 5.1.2 Die Kamera................................................................................ 53 3 5.1.3 Der Schnitt................................................................................ 54 5.1.4 Der Ton..................................................................................... 54 5.1.5 Produktion, Distribution, Filmaufführung........................................ 55 5.2 Filmtheorien – ein Überblick über semiologische, psychoanalytische, feministische, ideologische Ansätze.................................................. 57 5.2.1 Semiologische Filmdeutung........................................................... 57 5.2.2 Psychoanalytischer Ansatz............................................................. 59 5.2.3 Ideologie.................................................................................... 62 5.2.4 Feministische und queer Studien.................................................... 64 5.2.5 Postkolonialismus und Film............................................................ 67 5.2.6 Realismus................................................................................... 68 5.3 Konzepte der Filmklassifizierung ...................................................... 69 5.3.1 Genre......................................................................................... 69 5.3.2 Auteur – der Name des Regisseurs als „Gütesiegel“.......................... 72 5.3.3 Star – Identifikationssubjekt oder Objekt?....................................... 73 6 Schwarzer Feminismus und Black American Cinema ..................... 76 6.1 Aus der Marginalisierung ins Zentrum ............................................... 78 6.1.1 Feminismus – Schwarz versus Weiß?.............................................. 78 6.1.2 Der oppositionelle Blick als Widerstand...........................................84 6.2 Mammies and Mulattoes no more? – Repräsentationen von Black Womanhood .................................................................................. 89 6.2.1 Mammies, Aunt Jemimas, Tragic Mulattoes, Sapphires und Jezebels...................................................................................... 90 6.2.2 „Black is beautiful“, die Zeit der Queens of Blaxploitation und danach....................................................................................... 99 6.2.3 Whose Pussy is this? – Die Frau in den Filmen Spike Lees................ 112 7 Eine Geschichte des Widerstandes .............................................. 117 7.1 Die Anfänge ................................................................................ 117 7.2 Die Gründung der Black Women Clubs ............................................ 123 4 7.3 Engagement Afrikanisch-Amerikanischer Frauen in nationalistischen Bewegungen und Women’s Liberation Movement .............................. 126 8 Filmbeispiele .............................................................................. 133 8.1 Sounder ..................................................................................... 136 8.2 The Color Purple .......................................................................... 139 8.3 Tina – What’s Love Got to Do with It .............................................. 145 8.4 Monster’s Ball ............................................................................. 150 8.5 Foxy Brown ................................................................................ 155 8.6 Jackie Brown ............................................................................... 159 8.7 Catwoman .................................................................................. 164 8.8 She’s Gotta Have It ...................................................................... 167 8.9 Waiting to Exhale ......................................................................... 172 8.10 Bringing Down the House .............................................................. 179 8.11 The Wiz ...................................................................................... 183 9 Conclusio .................................................................................... 187 10 Bibliographie und Filmographie .................................................. 190 11 Curriculum Vitae ......................................................................... 213 12 Abstract ...................................................................................... 214 5 1 Danksagung Mein vorrangiger und besonderer Dank gilt meinem Diplomarbeitsbetreuer Prof. Mag. DDr. Werner Zips, der mir, nachdem ich seit meiner letzten Studiumsprüfung viele Jahre „pausiert“ hatte, wieder Mut gemacht hat, diese Arbeit zu schreiben. Außerdem möchte ich ihm für seinen Input und seine Vorschläge, die zur Fertigstellung meiner Diplomarbeit geführt haben, danken. An dieser Stelle möchte ich meinem Zweitprüfer, Prof. Dr. Manfred Kremser für seine Unterstützung meinen Dank aussprechen. Darüber hinaus ist es mir ein Anliegen bei dieser Gelegenheit darauf hinzuweisen, dass diese beiden Professoren, wie auch alle anderen, die ich während meines Völkerkunde- Studiums kennengelernt habe, durch ihr großartiges Engagement und ihre Liebe zum Fach wesentlich an meiner Freude und Begeisterung für mein Studium beigetragen haben. Weiters möchte ich folgenden Personen meinen Dank aussprechen, die mich während der letzten Monate unterstützt, aber auch „ertragen“ haben: Dr. Werner Weibel für seine ärztliche Hilfe, die mich immer fit und gesund gehalten hat, aber auch für seine aufmunternden Worte. Meiner Mutter, die mir während der Zeit des aktiven Schreibens „Unterschlupf“ gewährt hat, damit ich in Ruhe arbeiten konnte. Meinen lieben Freundinnen Monika Kainbacher, Eva-Maria Katzer, Petra Kohlmayr, Martina Menzel, Mag. Karin Reisinger und speziell Mag. Claudia Rois, die meine Diplomarbeit Korrektur gelesen hat. Und meinem Mann Michael für sein Verständnis für meine ständige Abwesenheit in der Zeit, in der ich diese Diplomarbeit fertiggestellt habe. 6 2 Einleitung „…denn Filme bestimmen mehr als irgendeine andere Medienerfahrung, wie Schwarzsein und Schwarze wahrgenommen werden und wie andere Gruppen auf uns reagieren, deren Beziehung auf diesen vorgefertigten und konsumierten Bildern beruht“ (hooks 1994: 14). Hollywoodfilme sind zumeist reines „Entertainment“. Allerdings steckt hinter diesem puren Vergnügen ein perfekt inszeniertes Kalkül. Das Kino Amerikas, d.h. konkret Hollywoods, ist ein Beispiel für die hegemoniale Vorherrschaft des Weißen 1 patriarchalen Kapitalismus. Was haben Ideologie und
Load more

Recommended publications
  • Twenty Films on Race Relations Accessible Online Through the Digital Resources of Cary Library
    June 1, 2020 Twenty Films on Race Relations Accessible Online through the Digital Resources of Cary Library DOCUMENTARY FILMS A People Uncounted: the untold story of the Roma from hoopla A journey into the world of the Roma - a people who have endured centuries of intolerance and persecution. (2014) Alternative Facts: the lies of Executive Order 9066 from Kanopy A documentary film about the false information and political influences which led to the World War II incarceration of Japanese Americans. (2018) America After Ferguson from Kanopy This PBS town hall meeting, moderated by Gwen Ifill, explores events following Michael Brown's death in Ferguson, Missouri. (2014) American Promise from Overdrive Set against the backdrop of a persistent educational achievement gap that dramatically affects African-American boys at all socioeconomic levels across the country, the film captures the stories of Idris and his classmate Seun as their families navigate their way through 13 years of the American education system. (2013) Dare Not Walk Alone from Overdrive An emotional march from past to present combining rarely seen news footage from 1964 with present-day testimony to tell the true story of troubled times in the historic tourist town of St. Augustine, Florida. (2006) I Am Not Your Negro from hoopla and Kanopy An Oscar-nominated documentary narrated by Samuel L. Jackson that explores the continued peril America faces from institutionalized racism. (2017) Olympic Pride, American Prejudice from hoopla In 1936, 18 African American athletes, dubbed the "black auxiliary" by Hitler, participated in the Berlin Olympic Games, defying Nazi Aryan Supremacy and Jim Crow Racism.
    [Show full text]
  • Mario Van Peebles's <I>Panther</I>
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 8-2007 Mario Van Peebles’s Panther and Popular Memories of the Black Panther Party Kristen Hoerl Auburn University, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Hoerl, Kristen, "Mario Van Peebles’s Panther and Popular Memories of the Black Panther Party" (2007). Papers in Communication Studies. 196. http://digitalcommons.unl.edu/commstudiespapers/196 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Critical Studies in Media Communication 24:3 (August 2007), pp. 206–227; doi: 10.1080/07393180701520900 Copyright © 2007 National Communication Association; published by Routledge/Taylor & Francis. Used by permission. Published online August 15, 2007. Mario Van Peebles’s Panther and Popular Memories of the Black Panther Party Kristen Hoerl Department of Communication and Journalism, Auburn University, Auburn, Alabama, USA Corresponding author – Kristen Hoerl, email [email protected] Abstract The 1995 movie Panther depicted the Black Panther Party for Self-Defense as a vibrant but ultimately doomed social movement for racial and economic justice during the late 1960s. Panther’s narrative indicted the white-operated police for perpetuating violence against African Americans and for un- dermining movements for black empowerment.
    [Show full text]
  • Racial Equity Resource Guide
    RACIAL EQUITY RESOURCE GUIDE TABLE OF CONTENTS 3 Foreword 5 Introduction 7 An Essay by Michael R. Wenger 17 Racial Equity/Racial Healing Tools Dialogue Guides and Resources Selected Papers, Booklets and Magazines Racial Equity Toolkits and Guides to Action Workshops, Convenings and Training Curricula 61 Anchor Organizations 67 Institutions Involved in Research on Structural Racism 83 National Organizing and Advocacy Organizations 123 Media Outreach Traditional Media Social Media 129 Recommended Articles, Books, Films, Videos and More Recommended Articles: Structural/Institutional Racism/Racial Healing Recommended Books Recommended Sources for Documentaries, Videos and Other Materials Recommended Racial Equity Videos, Narratives and Films New Orleans Focused Videos Justice/Incarceration Videos 149 Materials from WKKF Convenings 159 Feedback Form 161 Glossary of Terms for Racial Equity Work About the Preparer 174 Index of Organizations FOREWORD TO THE AMERICA HEALING COMMUNITY, When the W.K. Kellogg Foundation launched America Healing, we set for ourselves the task of building a community of practice for racial healing and equity. Based upon our firm belief that our greatest asset as a foundation is our network of grantees, we wanted to link together the many different organizations whose work we are now supporting as part of a broad collective to remove the racial barriers that limit opportunities for vulnerable children. Our intention is to ensure that our grantees and the broader community can connect with peers, expand their perceptions about possibilities for their work and deepen their understanding of key strategies and tactics in support of those efforts. In 2011, we worked to build this community We believe in a different path forward.
    [Show full text]
  • Art 8 Vol III Is 2
    Qualitative Sociology Review Volume III, Issue 2 – August 2007 Wendy Leo Moore Texas A&M University, USA Jennifer Pierce University of Minnesota, USA Still Killing Mockingbirds: Narratives of Race and Innocence in Hollywood’s Depiction of the White Messiah Lawyer Abstract Through a narrative analysis of movies confronting issues of race and racism in the post-civil rights era, we suggest that the movie To Kill a Mockingbird ushered in a new genre for movies about race which presented an image of a white male hero, or perhaps savior, for the black community. We suggest that this genre outlasted the era of the Civil Rights Movement and continues to impact popular cultural discourses about race in post-civil rights America. Post-civil rights films share the central elements of the anti-racist white male hero genre, but they also provide a plot twist that simultaneously highlights the racial innocence of the central characters and reinforces the ideology of liberal individualism. Reading these films within their broader historical context, we show how the innocence of these characters reflects not only the recent neo-conservative emphasis on “color blindness,” but presents a cinematic analogue to the anti-affirmative action narrative of the innocent white victim. Keywords Race; Racism; Film; Popular culture; Whiteness The film, To Kill a Mockingbird , based on Harper Lee’s eponymous book, was produced in the early 1960s, in the midst of the civil rights movement. Its narrative focuses on the valiant efforts of a small town lawyer, Atticus Finch, who defends Tom Robinson, a black man wrongfully accused of rape, against the racism of the Jim Crow South.
    [Show full text]
  • Vibing with Blackness: Critical Considerations of Black Panther and Exceptional Black Positionings
    arts Article Vibing with Blackness: Critical Considerations of Black Panther and Exceptional Black Positionings Derilene (Dee) Marco Media Studies Department, University of the Witwatersrand, Johannesburg 2000, South Africa; [email protected] Received: 12 September 2018; Accepted: 15 November 2018; Published: 21 November 2018 Abstract: This article considers different ways in which Blackness is represented as exceptional in the 2018 film Black Panther. It also considers other iterations of Black visibility and legibility in the current popular culture context which appears to privilege Black narratives in interesting ways. The essay uses conceptual lenses from diaspora studies, Afro science fiction and Black feminist studies to critically engage the film and to critically question the notion of Black exceptionalism. Keywords: Afrofuturism; blackness; Black exceptionalism; cinema; post-apartheid; Black Panther film 1. Introduction How do you know I’m real? I’m not real. I come to you as myth, because that’s what black people are—myths. Ra(2017) Gabi Ngcobo holds the position as the first Black curator of the Berlin Biennale. In various articles from South African and other global publications, the overarching message about the Biennale was its (and its curator’s) exceptionalism. This exceptionalism, it seems, is to be read as a slightly nervous celebration of Ngcobo as Black and an equally anxious reception of her all black team and a host of seemingly ‘unknown artists’ who were on the show. Ngcobo herself confronts this geographical and psychological positional through the following—a position that I wish to use in this article as a basis and space for reflection: ..
    [Show full text]
  • The Colored Pill: a History Film Performance Exposing Race Based Medicines
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 2020 The Colored Pill: A History Film Performance Exposing Race Based Medicines Wanda Lakota Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Broadcast and Video Studies Commons, Film and Media Studies Commons, and the Medicine and Health Sciences Commons The Colored Pill: A History Film Performance Exposing Race Based Medicines __________ A Dissertation Presented to the Faculty of the College of Arts, Humanities and Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Wanda Lakota June 2020 Advisor: Dr. Bernadette Marie Calafell ©Copyright by Wanda Lakota 2020 All Rights Reserved Author: Wanda Lakota Title: The Colored Pill: A History Film Performance Exposing Race Based Medicines Advisor: Dr. Bernadette Marie Calafell Degree Date: June 2020 ABSTRACT Of the 32 pharmaceuticals approved by the FDA in 2005, one medicine stood out. That medicine, BiDil®, was a heart failure medication that set a precedent for being the first approved race based drug for African Americans. Though BiDil®, was the first race specific medicine, racialized bodies have been used all throughout history to advance medical knowledge. The framework for race, history, and racialized drugs was so multi- tiered; it could not be conceptualized from a single perspective. For this reason, this study examines racialized medicine through performance, history, and discourse analysis. The focus of this work aimed to inform and build on a new foundation for social inquiry—using a history film performance to elevate knowledge about race based medicines.
    [Show full text]
  • Night of the Living Dead: Reappraising an Undead Classic
    Night of the living dead: reappraising an undead classic. Advertise Here Navigate to ... HO R R O R · 3 R EVIEWS Night of the Living Dead: Reappraising an Undead Classic Stephen Harper November 1, 2005 817 Romero’s canonical work remains timely decades later Introduction T here has been a veritable outbreak of zombie films in the last few years, from Hollywood blockbusters Resident Evil (Anderson, 2002) and Resident Evil 2: Apocalypse (Witt, 2004), to British films such as 28 Days Later (Boyle, 2002) and the zombie spoof Shaun of the Dead (Wrig ht, 2004). T he release in 2004 of Zack Snyder’s remake of Georg e A. Romero’s Dawn of the Dead (1978) attests to the continuing influence and appeal of classic “zombie cinema.” While the cinematic concern with the undead predates Romero’s films, all of the recent films mentioned above have some connection to Romero (Romero was orig inally scheduled to write the screenplay for Resident Evil, for example, while the recent British films allude frequently to Romero’s work). T he following essay is an attempt to account for the continuing attraction of Romero’s first zombie film, Night of the Living Dead (1968), nearly forty years after its release. Shot in black-and-white over seven months on a shoestring budg et, Night of the Living Dead defined the modern horror movie and influenced a number of international horror directors, especially those working within the horror g enre. T he film’s plot of is simple: Barbra and her brother Johnny are attacked when visiting a g raveyard to honour the g rave of their father.
    [Show full text]
  • Black Skin, White Gaze: the Presence and Function of the Linchpin Character in Biopics About Black American Protagonists
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Black Skin, White Gaze: The Presence and Function of the Linchpin Character in Biopics About Black American Protagonists Nicole N. Williams The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3856 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BLACK SKIN, WHITE GAZE: THE PRESENCE AND FUNCTION OF THE LINCHPIN CHARACTER IN BIOPICS ABOUT BLACK AMERICAN PROTAGONISTS by NICOLE N. WILLIAMS A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2020 ii © 2020 NICOLE N. WILLIAMS All Rights Reserved iii Black Skin, White Gaze: The Presence and Function of the Linchpin Character in Biopics About Black American Protagonists by Nicole N. Williams This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Juan Battle Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Black Skin, White Gaze: The Presence and Function of the Linchpin Character in Biopics About Black American Protagonists by Nicole N. Williams Advisor: Juan Battle Throughout its existence the American film industry has--through the stories it has chosen to tell as well as discriminatory practices such as whitewashing and the erasure of non-White people-- enshrined whiteness as the default American racial identity.
    [Show full text]
  • Ouagadougou '95 African Cinema
    40 Acres And AMule Filmworks a OW ACCEPTING SCRIPTS © Copyright Required DEVELOPMENT DEPARTMENT • 8 ST. FELIX STREET • BROOKLYN, NY 11217 6 Close Up One in San Francisco and the other London. Two black women make J?1usic for the movies. 9 World View Ouagadougou '95: Mrican Cinema, Heart and Soul(d), Part I CLAIRE ANDRADE WATKINS In the first ofa two part article) Claire Andrade Watkins shares insights on the African Cinema scene from FESPACO. Black Film Review Volume 8, Number 3 12 Film Clips ]ezebel Filmworks does Hair. .. FILMFEST DC audience pick... VOices Corporate & Editorial Offices Against Violence. 2025 Eye Street, NW Suite 213 Washington, D.C. 20006 Tel. 202.466.2753 FEATURES Fax. 202.466.8395 e-mail 14 Hot Black Books Set Hollywood on Fire [email protected] TAREsSA STOVALL Editor-in-Chief Will the high sales ofblack novels translate into box office heat? Leasa Farrar-Frazer Consulting Editor 19 We Are the World: Black Film and the Globalization of Racism Tony Gittens (Black Film Institute, University of the District of CLARENCE LUSANE Columbia) What we need to know about who owns and controls the global images of Founding Editor black people. David Nicholson Art Direction & Design Lorenzo Wilkins for SHADOWORKS INTERVIEWS Contributing Editors TaRessa Stovall 22 APraise Poem: Filming the Life of Andre Lorde PAT AUFDERHEIDE Contributors Pat Aufderheide Producer Ada Gay Griffin shares her thoughts on the experience. Rhea Combs Eric Easter Joy Hunter 25 Live From The Madison Hotel Clarence Lusane Eric Easter talks with Carl Franklin) Walter Mosely and the Hughes Brothers Denise Maunder Marie Theodore Claire Andrade Watkins Co-Publisher DEPARTMENTS One Media, Inc.
    [Show full text]
  • A Multiple Case Analysis of Savior Films As Racial Projects. Eric A
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 Reel racism, real consequences : a multiple case analysis of savior films as racial projects. Eric A. Jordan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Film and Media Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Jordan, Eric A., "Reel racism, real consequences : a multiple case analysis of savior films as racial projects." (2016). Electronic Theses and Dissertations. Paper 2391. https://doi.org/10.18297/etd/2391 This Master's Thesis is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. REEL RACISM, REAL CONSEQUENCES: A MULTIPLE CASE ANALYSIS OF SAVIOR FILMS AS RACIAL PROJECTS By Eric A. Jordan B.A., University of Louisville, 2014 M.A., University of Louisville, 2016 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Sociology Department of Sociology University of Louisville Louisville, Kentucky May 2016 REEL RACISM, REAL CONSEQUENCES: A MULTIPLE CASE ANALYSIS OF SAVIOR FILMS AS RACIAL PROJECTS By Eric A. Jordan B.A., University of Louisville, 2014 M.A., University of Louisville, 2016 A Thesis Approved on March 9, 2016 by the following Thesis Committee: Derrick Brooms Gul Marshall Siobhan Smith ii ABSTRACT REEL RACISM, REAL CONSEQUENCES: A MULTIPLE CASE ANALYSIS OF SAVIOR FILMS AS RACIAL PROJECTS Eric A.
    [Show full text]
  • Women, Film and Racial Thinking: Exploring the Representation and Reception of Interracial Romance
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository WOMEN, FILM AND RACIAL THINKING: EXPLORING THE REPRESENTATION AND RECEPTION OF INTERRACIAL ROMANCE Carole Viola Bell A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for degree of Doctor of Philosophy in the School of Journalism and Mass Communication. Chapel Hill 2010 Approved by: Dr. Anne Johnston (Chair) Dr. Jane Brown Dr. Robert Entman Dr. Marco Steenbergen Dr. Lucila Vargas Dr. Trevy McDonald ©2009 Carole Viola Bell ALL RIGHTS RESERVED ii Abstract Carole Viola Bell Women, Film and Racial Thinking: Exploring the Representation and Reception of Interracial Romance (Under the direction of Dr. Anne Johnston) At the height of the civil rights movement, the symbolic struggle inherent in interracial images was plainly visible in the picket lines and protests attracted by movies like Island in the Sun (1957). More than 50 years later, such demonstrations are long gone, but the Black- White interracial couple is still a figure imbued with personal and political significance. Recognizing this enduring importance and the complicated relationship between race and sexuality in American culture, the purpose of this dissertation was to explicate the beliefs about race that are implicated in Hollywood depictions of Black-White interracial romantic relationships and to understand how young women of different backgrounds make sense of these perspectives. To that end, this research employed a mixed methods approach combining quantitative and qualitative content analysis and focus groups, all aimed at the goal of illuminating the representation and reception of supportive and critical messages about race relations and interracial relationships in popular films produced since 1954.
    [Show full text]
  • A Comparative Study of African American Representations in Film from Original to Remake As Influenced Yb the Civil Rights Movement
    The University of Maine DigitalCommons@UMaine Honors College 5-2009 A Comparative Study of African American Representations in Film from Original to Remake as Influenced yb the Civil Rights Movement Erica F. Berry [email protected] Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Mass Communication Commons Recommended Citation Berry, Erica F., "A Comparative Study of African American Representations in Film from Original to Remake as Influenced by the Civil Rights Movement" (2009). Honors College. 21. https://digitalcommons.library.umaine.edu/honors/21 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. A COMPARATIVE STUDY OF AFRICAN AMERICAN REPRESENTATIONS IN FILM FROM ORIGINAL TO REMAKE AS INFLUENCED BY THE CIVIL RIGHTS MOVEMENT by Erica F. Berry A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Mass Communications) The Honors College University of Maine May 2009 Advisory Committee: Paul Grosswiler, Associate Professor and Chair of Communication and Journalism, Advisor Michael J. Socolow, Assistant Professor of Communication and Journalism Laura Lindenfeld, Assistant Professor of Communication and Journalism and The Margaret Chase Smith Policy Center Amy Blackstone, Assistant Professor of Sociology Melissa Ladenheim, Adjunct Assistant Professor in Honors (Folklore) Abstract Racial stereotypes in American films have reflected our society’s dominant ideologies and have influenced our belief systems since the film industry began.
    [Show full text]