Type: Chapter; Page start: ; Page end: Is part of Book. Title: Black American cinema; Author(s): Diawara, Manthia; Date: ; Publisher: Routledge . Type: Chapter; Author(s): M Diawara; Date: Is part of Book. Title: Black American cinema; Author(s): Diawara, Manthia; Date: ; Publisher: Routledge . According to Diawara, in Hollywood films the African American characters are portrayed as some form of ‘bad’ whereas the White Americans.

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Meta Register Log in. Not only is Little Colonel a fake father and hero, but the Black experience is rendered absent in the text.

ScreenVolume 29, Issue 4, 1 OctoberPages 66—79, https: It must fully complicate and problematize every questionable representation.

Create a free website or blog at WordPress. Furthermore, by exploring the notion of the resisting spectator my aim is to reassess some of the claims of certain theories of spectatorship which have not so far manthix for blcak experiences of Black spectators.

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By continuing to use this website, you agree to bladk use. Citing articles via Web of Science Search all titles Search all collections. Therefore, as consumers, we should constantly analyze and critique popular culture.

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Response: Diawara, Black Spectatorship

Gerima, born in Ethiopia, gives the example of displaced identification using an actual film he recalls from his early years. As such, the goal of Resisting Spectator is to do just that: If you originally registered with a username please use that to sign in. Diawara suggests that, to some degree, the terms resisting spectator and black spectator are interchangeable, for many African American filmgoers long have had to resist and negotiate with the ways in which they historically have been represented on the silver screen.


Sign in via your Institution Sign in. Soviet cinema and the fantasy of no limits. Jean Rouch and the camera eyewitness. Fill in your details below or click an icon to log in: Furthermore, one can certainly understand how this form of spectatorship can and should extend to other forms of popular culture.

Close mobile search navigation Article navigation. The manner in which Black spectators may circumvent identification and resist the persuasive elements of Hollywood narrative and spectacle informs both a challenge to certain theories of spectatorship and the aesthetics of AfroAmerican independent cinema. Africans have their own oral tradition around the fire. Problems of Identification and Resistance Manthia Diawara.

Sorry, your blog cannot share posts by email. Sign In Forgot password? I do want to point out, however, that essays can be written at-length on the issue because of gaping absences and omissions of Blackness and formulaic treatments of Blackness—or any underrepresented identity—on the whole. Email alerts New issue alert.

Black Spectatorship by Ryan Williams on Prezi

Problems of Identification and Resistance: You are commenting using your Twitter account. Dominant cinema is so good, and so universal that it is imposed, engraved even, on the rest of the world to the point of colonial self-loathing. This site uses cookies.


In this article I posit the interchangeability of the terms “Black spectator” and “resisting spectator” as an heuristic device to imply that just as some Blacks identify with Hollywood’s images of Blacks, some White spectators, too, resist the racial representations of dominant cinema.

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This article is also available for rental through DeepDyve. Post was not sent – check your email addresses! In the film, one white man kills 6, Africans. Newer Post Older Post Home. Edited By Manthia Diawara. Leave a Reply Cancel reply Enter your comment here Don’t have an account? The argument that Blacks in the South were docile and happy with their condition as slaves … is totally unconvincing once it is compared to historical accounts of the Black American experience.

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