The Racism Portrayed in Django Unchained by Quentin Tarantino
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												Racism and Bad Faith
AN ABSTRACT OF THE THESIS OF Gregory Alan Jones for the degree ofMaster ofArts in Interdisciplinary Studies in Philosophy, Philosophy and History presented on May 5, 2000. Title: Racism and Bad Faith. Redacted for privacy Abstract approved: Leilani A. Roberts Human beings are condemned to freedom, according to Jean-Paul Sartre's Being and Nothingness. Every individual creates his or her own identity according to choice. Because we choose ourselves, each individual is also completely responsible for his or her actions. This responsibility causes anguish that leads human beings to avoid their freedom in bad faith. Bad faith is an attempt to deceive ourselves that we are less free than we really are. The primary condition of the racist is bad faith. In both awarelblatant and aware/covert racism, the racist in bad faith convinces himself that white people are, according to nature, superior to black people. The racist believes that stereotypes ofblack inferiority are facts. This is the justification for the oppression ofblack people. In a racist society, the bad faith belief ofwhite superiority is institutionalized as a societal norm. Sartre is wrong to believe that all human beings possess absolute freedom to choose. The racist who denies that black people face limited freedom is blaming the victim, and victim blaming is the worst form ofracist bad faith. Taking responsibility for our actions and leading an authentic life is an alternative to the bad faith ofracism. Racism and Bad Faith by Gregory Alan Jones A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies Presented May 5, 2000 Commencement June 2000 Redacted for privacy Redacted for privacy Redacted for privacy Redacted for privacy Redacted for privacy Redacted for privacy Acknowledgment This thesis has been a long time in coming and could not have been completed without the help ofmany wonderful people. - 
												
												Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. - 
												
												Inglorious Lstms Generating Tarantino Movies with Neural Networks
Inglorious LSTMs Generating Tarantino Movies with Neural Networks Bohdan Andrusyak Data Scientist at Know Center linkedin.com/in/bandrusyak Today’s Questions ● What is NLP? ● Language Models and Who Needs Them? ● What is better Human Brain or Neural Network? ● Are LSTM similar to LSD? ● How can You do All of This in Python? ● How can You Generate Movie Script? What is NLP? ● NLP - Neuro Linguistic Programing Natural Language Processing ● Sub-field of Artificial Intelligence focused on enabling computers to understand and process human languages ● Applications: ○ Language Translation ○ Sentiment Detection ○ Text Categorization ○ Text Summarization ○ Text Generation Why do computers can not understand humans? Formal Language: Human Language: a = 10 He is literally on fire b = 20 Bring me that thing while a < 20: Great job a += 1 Language Models what are they? ● Statistical Language Model - probabilistic model that are able to predict the next word in the sequence based on previous words. ● Neural Language Model - parametrization of words as vectors (word embeddings) and using them as inputs to a neural network. Parameters are learned during training. Words with same meaning are close in vector space. Word Embeddings Real Life Example Who uses Language Models? ● Word2vec, Google ● BERT, Google ● ELMo, Allen Institute ● GloVe, Stanford ● fastText, Facebook ● GPT2, Open AI (too dangerous to be released) Neuron Activation functions ● Step Function ● Sigmoid Function ● Tanh Function ● ReLU Function Neural Network Recurrent Neural Networks Repeating module in RNN The Problem of Long-Term Dependencies LSTM - Long Short Term Memory LSTM gates LSTM step by step How Can You Do It in Python? NLP libraries: ● nltk - natural language toolkit ● spaCy ● gensim Deep learning: ● TensorFlow ● Keras Finally, some practical stuff Data collection ● Source: imsdb.com ● Movie scripts collected: ○ Natural Born Killers ○ Reservoir Dogs ○ From Dusk till Dawn ○ Pulp Fiction ○ Jackie Brown ○ Kill Bill vol. - 
												
												Title: a CRITICAL EXAMINATION of ANTI-INDIAN RACISM in POST
Title: A CRITICAL EXAMINATION OF ANTI-INDIAN RACISM IN POST-APARTHEID SOUTH AFRICA Student Name: ANNSILLA NYAR Student No: 441715 Supervisor: DR STEPHEN LOUW Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy, University of the Witwatersrand (Wits). Department of Political Studies Faculty of Humanities University of the Witwatersrand (Wits) 15 March 2016 1 DECLARATION The candidate hereby confirms that the dissertation submitted is her own unaided work and that appropriate credit has been accorded where reference has been made to the work of others. Signed: Annsilla Nyar Student # 441715 2 A Critical Examination of Anti-Indian Racism in Post-Apartheid South Africa Abstract: This dissertation is a critical examination of anti-Indian racism in post-apartheid South Africa. While racism presents an intractable problem for all racial groups in South Africa, this dissertation will show that Indian South Africans are especially framed by a specific racist discourse related to broad perceptions of economic exploitation within the context of redistributive and resource-allocation conflicts, political corruption, insularity and general lack of a socio-cultural ‘fit’ with the rest of South African society. This is not unique to present day South Africa and is (albeit in evolving ways) a long standing phenomenon. Key concerns addressed by the dissertation are: the lack of critical attention to the matter of anti-Indian racism, the historical origins of anti-Indian racism, the characteristics and dynamics of anti-Indian racism and its persistence in post-apartheid South Africa despite an avowed commitment of South Africa’s new post-apartheid dispensation to a non-racial society. - 
												
												“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. - 
												
												Birth, Django, and the Violenceof Racial Redemption
religions Article Rescue US: Birth, Django, and the Violence of Racial Redemption Joseph Winters Religious Studies, Duke University, Durham, NC 27708, USA; [email protected] Received: 19 December 2017; Accepted: 8 January 2018; Published: 12 January 2018 Abstract: In this article, I show how the relationship between race, violence, and redemption is articulated and visualized through film. By juxtaposing DW Griffith’s The Birth of a Nation and Quentin Tarantino’s Django Unchained, I contend that the latter inverts the logic of the former. While Birth sacrifices black bodies and explains away anti-black violence for the sake of restoring white sovereignty (or rescuing the nation from threatening forms of blackness), Django adopts a rescue narrative in order to show the excessive violence that structured slavery and the emergence of the nation-state. As an immanent break within the rescue narrative, Tarantino’s film works to “rescue” images and sounds of anguish from forgetful versions of history. Keywords: race; redemption; violence; cinema; Tarantino; Griffith; Birth of a Nation; Django Unchained Race, violence, and the grammar of redemption form an all too familiar constellation, especially in the United States. Through various narratives and strategies, we are disciplined to imagine the future as a state of perpetual advancement that promises to transcend legacies of anti-black violence and cruelty. Similarly, we are told that certain figures or events (such as the election of Barack Obama) compensate for, and offset, the black suffering that - 
												
												Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. - 
												
												Special Topics in Film)
RACE & GENDER IN AMERICAN FILM (SPECIAL TOPICS IN FILM) Fall 2020 Synchronous Remote Course Mondays 6:00pm-9:00pm (Eastern Time Zone) Course Numbers: 21:014:255:02/21:350:363:01 Rutgers University-Newark Professor: Dr. Lyra D. Monteiro Email: [email protected] Google Hangouts: [email protected] Video Office Hours: Tuesdays, 4:00-5:00pm (Eastern Time Zone), Wednesdays 5:30-6:30pm (Eastern Time Zone), and by appointment COURSE DESCRIPTION This summer’s uprisings were sparked by a number of widely circulating videos in which a white man or woman kills (or in some cases, nearly kills) a Black man or woman. We will not be watching these horrific videos in this course. What we will be doing is studying the ways in which movies that may seem like frivolous fun are actually part of the story as to how these events came to occur. Movies teach every one of us how to “be” the race and gender assigned to us by this society—and how to think about, feel towards, and treat those who are assigned to other races and genders. We will also be looking at how filmmakers who hold marginalized identities have, in recent years, made movies that actively seek to address the disastrous racial violence in the United States. During the first part of the term, we will use films to learn and practice tools for analyzing how race, gender, and sexual orientation function in film—and how this shapes privilege and oppression in the real world. The remainder of the course looks at films from the past few years, seeking to understand and compare the different choices that their (mostly Black) creators made—in terms of different genres, settings, styles, etc.—in order to engage with present-day issues of anti-Blackness. - 
												
												A Look Into the South According to Quentin Tarantino Justin Tyler Necaise University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2018 The ineC matic South: A Look into the South According to Quentin Tarantino Justin Tyler Necaise University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the American Studies Commons Recommended Citation Necaise, Justin Tyler, "The ineC matic South: A Look into the South According to Quentin Tarantino" (2018). Honors Theses. 493. https://egrove.olemiss.edu/hon_thesis/493 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. THE CINEMATIC SOUTH: A LOOK INTO THE SOUTH ACCORDING TO QUENTIN TARANTINO by Justin Tyler Necaise A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2018 Approved by __________________________ Advisor: Dr. Andy Harper ___________________________ Reader: Dr. Kathryn McKee ____________________________ Reader: Dr. Debra Young © 2018 Justin Tyler Necaise ALL RIGHTS RESERVED ii To Laney The most pure-hearted person I have ever met. iii ACKNOWLEDGEMENTS Thank you to my family for being the most supportive group of people I could have ever asked for. Thank you to my father, Heath, who instilled my love for cinema and popular culture and for shaping the man I am today. Thank you to my mother, Angie, who taught me compassion and a knack for looking past the surface to see the truth that I will carry with me through life. - 
												
												First Year Students' Narratives of 'Race' and Racism in Post-Apartheid South
University of the Witwatersrand SCHOOL OF HUMAN AND COMMUNITY DEVELOPMENT Department of Psychology First year students’ narratives of ‘race’ and racism in post-apartheid South Africa A research project submitted in partial fulfilment of the requirements for Masters in Educational Psychology in the Faculty of Humanities, University of the Witwatersrand, Johannesburg, November 2011 Student: Kirstan Puttick, 0611655V Supervisor: Prof. Garth Stevens DECLARATION I declare that this thesis is my own unaided work. It is submitted for the Degree of Master in Educational Psychology at the University of Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination at any other university. Kirstan Puttick November 2011 i ACKNOWLEDGEMENTS There are several people whom I would like to acknowledge for their assistance and support throughout the life of this research project: Firstly, I would like to extend my sincere thanks to my supervisor, Prof. Garth Stevens, for his guidance, patience and support throughout. Secondly, I would like to thank the members of the Apartheid Archive Study at the University of the Witwatersrand for all their direction and encouragement. Thirdly, I would like to express my heartfelt gratitude to all my friends and family who have been a tremendous source of support throughout this endeavour. I would also like to thank my patient and caring partner for all his kindness and understanding. Lastly, and perhaps most importantly, I would like to thank my participants without whom this project would not have been possible. I cannot begin to express how grateful I am for the contributions that were made so willingly and graciously. - 
												
												Avodah Racial Justice Guide
Avodah Racial Justice Guide Historically, Jews of Color have been systematically marginalized, discredited, and discounted within Jewish organizations. Still today, our Jewish institutions rarely reflect the true diversity within the Jewish community. The Jewish community is stronger and more authentically rooted in justice when everyone has an equal seat at the table. This moment calls us to do the best, most authentic, and most effective work for justice that we can. We know that there are many kinds of injustice in our world, including racism, antisemitism, and white supremacy. This guide approaches our drive towards diversity, equity, and inclusion, primarily through a lens of race; it offers ways to understand, and work against, racism in our organizations. However, we also acknowledge the ways in which racism is intertwined with other forms of oppression, and in particular how antisemitism and racism are linked through white supremacy in the United States. To do our part in dismantling these systems of oppression and building a better, more just world, we need to understand how they affect each other, and we must do true coalition building. This is a pivotal time in the Jewish community as the COVID-19 pandemic and a widespread grappling with systemic racism have changed what it means to be in community and underlined the need for deep and meaningful change. The economic implications of the pandemic have yet to be fully realized, but as organizations look to tighten their budgets, racial equity and inclusion must not only remain a line item but also a foundation for building Jewish continuity. - 
												
												Building a Multi-Ethnic, Inclusive & Antiracist Organization
Building a Multi-Ethnic, Inclusive & Antiracist Organization Tools for Liberation Packet for Anti-Racist Activists, Allies, & Critical Thinkers For more information about our Anti-Racism Institute or to schedule an anti-racism training or consultation for your organization, please contact Nancy Chavez-Porter, Training and Community Education Director: 303-449-8623 [email protected] www.safehousealliance.org Tools for Liberation Packet Contents 1. Anti-Racism Definitions From A Human Rights Framework 3-4 2. Acts/Omissions – Overt/Covert Racism 5 3. Characteristics of Dominants and Subordinates 6 4. The Intersectionality of Oppression 7 5. The Usual Statements 8 6. A Chronicle of the Problem Woman of Color in Non-Profits 9 7. The Organizational Spiral 10 8. Characteristics of a Highly Inclusive Organization 11-12 9. Qualities of a Committed CEO 13 10. Qualities of an Anti-Racist Ally 14 These “Tools for Liberation” reflect years of hard work by staff who engage in anti- racist organizing on a daily basis, and are the intellectual property of the Safehouse Progressive Alliance for Nonviolence (SPAN). Do not reprint without permission. Please contact us for information about reusing this material. Core Reading List • Color of Violence: The Incite! Anthology . South End Press, 2006. • Race, Class, and Gender in the United States . Paula S.Rothenberg (ed). 6 th Edition.Worth, 2004 • Living Chicana Theory . Carla Trujillo (ed). Third Woman Press,1998. • Sister Outsider . Audre Lorde. The Crossing Press, 1984. • Women, Race and Class . Angela Y. Davis. Vintage Books, 1983. • Are Prisons Obsolete ? Angela Y. Davis. Seven Stories Press, 2003. • The Heart of Whiteness: Confronting Race, Racism and White Privilege .