Journal articles: 'Race in film'

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Beugnet, M. "Revisioning Duras: Film, Race, Sex." Screen 45, no. 2 (June 1, 2004): 162–67. http://dx.doi.org/10.1093/screen/45.2.162-b.

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King, Jesse, Sohuyn Lee Ribeiro, Clark Callahan, and Tom Robinson. "Representing race: the race spectrum subjectivity of diversity in film." Ethnic and Racial Studies 44, no. 2 (March 20, 2020): 334–51. http://dx.doi.org/10.1080/01419870.2020.1740290.

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Wilson, E. "Review: Revisioning Duras: Film, Race, Sex." French Studies 56, no. 4 (October 1, 2002): 552–53. http://dx.doi.org/10.1093/fs/56.4.552.

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Waldburger, Adia. "Sport on the Screen: A Look at Sport Films Featured at Sundance 2011." International Journal of Sport Communication 4, no. 2 (June 2011): 253–58. http://dx.doi.org/10.1123/ijsc.4.2.253.

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Audiences had the opportunity to applaud for sport films at the 2011 Sundance Film Festival in Park City, UT. Two sport-themed documentary films won audience awards. The U.S. winner, Buck, follows the life of horse trainer Buck Brannaman, and Senna, a look at the life of Formula One hero Ayrton Senna, won in the international category. Other sport films screened this year included Win Win, in which Paul Giamatti stars as a volunteer high school wrestling coach; Benevides Born, about a teen female wrestler trying win a scholarship; and two short movie entries, Bike Race, an animated film about a race and a love triangle, and Skateistan: To Live and Skate Kabul, a documentary about skaters in war-torn Afghanistan. This review provides an examination of the sport films at this year’s festival and discusses the impact that this form of sport communication has on the entertainment industry.

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Aldama, Frederick Luis. "Race, Cognition, and Emotion: Shakespeare on Film." College Literature 33, no. 1 (2006): 197–213. http://dx.doi.org/10.1353/lit.2006.0002.

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Vollmer, Mario, Swen Zaremba, Pierre Mertiny, and Klaus Drechsler. "Edge Race-Tracking during Film-Sealed Compression Resin Transfer Molding." Journal of Composites Science 5, no. 8 (July 21, 2021): 195. http://dx.doi.org/10.3390/jcs5080195.

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Edge race-tracking is a frequently reported issue during resin transfer molding. It is caused by highly permeable channels and areas between the preform edge and cavity, which can significantly change the preform impregnation pattern. To date, information is scarce on the effect of edge race-tracking in compression resin transfer molding (CRTM). To close this gap, laboratory equipment was developed to study the CRTM preform impregnation via flow visualization experiments. The preform was thereby encapsulated in thin thermoplastic films sealing its impregnation. Film-sealed compression resin transfer molding (FS-CRTM) experiments of preforms with a small geometrical aspect ratio showed fast filling of the injection gap and a subsequent through-thickness preform impregnation. Creating an edge race-tracking channel, an additional lateral in-plane flow from the channel towards the preform center was observed, initiating soon after the injection started and caused by the spatial connection between the injection gap and the race-tracking channel. To diminish edge race-tracking, a passive flow control strategy was implemented via a split design of the upper tool to spatially isolate the injection gap from the channel and to pre-compact the preform edge. A delayed and reduced lateral race-tracking flow was observed, showing that the passive flow control strategy increases the process robustness of FS-CRTM regarding edge race-tracking effects.

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Young, Gwenda. "Exploring racial politics, personal history and critical reception." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 51–68. http://dx.doi.org/10.33178/alpha.6.04.

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Using archival sources from the Clarence Brown Archive at the University of Tennessee at Knoxville, newspaper clippings from a wide range of national and regional press, and unpublished interviews, this article explores how the complexities and contradictions that are central to Clarence Brown’s film version of Intruder in the Dust (1949)—complexities that, arguably, make this film the most ambiguous of all the “race issue” films released in 1949—are mirrored in the director’s own deeply divided attitude to race and to the South. These tensions also surface in the critical reception of the film in the white press, and perhaps more tellingly, in the black press of 1949. The notion that this was a film generally acclaimed in the black press can be challenged, or at the very least nuanced, through a closer examination of newspaper archives, which, in turn, reveals some of the divisions within black intellectual circles of the late 1940s.

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Górny, Antoni. "Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 237–52. http://dx.doi.org/10.7311/pjas.13/2/2019.06.

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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. 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.”

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Sprochi, Amanda K. "Book Review: Race in American Film: Voices and Visions That Shaped a Nation." Reference & User Services Quarterly 57, no. 3 (March 16, 2018): 228. http://dx.doi.org/10.5860/rusq.57.3.6629.

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Race in American Film is a three-volume encyclopedic treatment of race and racism in American cinema, from the early film era to modern times. The editors, Daniel Bernardi and Michael Green, address the question of “American cinema’s place in American and world culture with respect to the question of race” (xxx). For the purpose of this three-volume set, they define “race” broadly, using Omi and Winant’s definition of race as a “‘shifting yet reforming’ complex of meanings that works to shape our sense of selves and those we see as similar—thereby allowing us to see others as different.” (xxi) The concept of race, therefore, is subject to change over time and among different social groups.

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Elder, Catriona. "The Proposition: Imagining Race, Family and Violence on the Nineteenth-Century Australian Frontier." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 165. http://dx.doi.org/10.5007/2175-8026.2016v69n2p165.

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http://dx.doi.org/10.5007/2175-8026.2016v69n2p165This article analyses John Hillcoat’s 2005 film The Proposition in relation to a spate of Australian films about violence and the (post)colonial encounter released in the early twenty-first century. Extending on Felicity Collins and Therese Davis argument that these films can be read in terms of the ways they capture or refract aspects of contemporary race relations in Australia in a post-Mabo, this article analyses how The Proposition reconstructs the trauma of the Australian frontier; how from the perspective of the twenty-first century it worries over the meaning of violence on the Australian frontier. It also explores what has become speakable (and remains unspeakable) in the public sphere about the history of the frontier encounter, especially in terms of family and race. The article argues that The Proposition and other early twenty-first century race relations films can be understood as post-reconciliation films, emerging in a period when Indigenous and non-Indigenous Australians were rethinking ideas of belonging through a prism of post-enmity and forgiveness. Drawing on the theme of violence and intimate relations in the film, this article argues that the challenges to the everyday formulation of Australian history proffered in The Proposition reveal painful and powerful differences amongst Australian citizens’ understanding of who belongs and how they came to belong to the nation. I suggest that by focusing on violence in terms of intimacy, relationships, family and kin, it is possible to see this film presented an opportunity to begin to refigure ideas of belonging.

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OOTEN, MELISSA, and SARAH TREMBANIS. "Filming Eugenics: Teaching the History of Eugenics Through Film." Public Historian 29, no. 3 (January 1, 2007): 145–55. http://dx.doi.org/10.1525/tph.2007.29.3.145.

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In teaching eugenics to undergraduate students and general public audiences, film should be considered as a provocative and fruitful medium that can generate important discussions about the intersections among eugenics, gender, class, race, and sexuality. This paper considers the use of two films, A Bill of Divorcement and The Lynchburg Story, as pedagogical tools for the history of eugenics. The authors provide background information on the films and suggestions for using the films to foster an active engagement with the historical eugenics movement.

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Hamzah, Abdul Wahab. "Myth, Neo-Colonialism and Neo-Noir in Two Films by Dain Said." Malay Literature 31, no. 2 (December 1, 2018): 383–92. http://dx.doi.org/10.37052/ml.31(2)no8.

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Dain Said is one of the most reputable Malaysian film directors. Two of his films, Bunohan (2011) and Interchange (2016), not only won him awards for best film and best director but were also screened in many respected world film festivals. Bunohan and Interchange have a reputation of being different from many ordinary contemporary Malay films. Both films contain the similar theme of killing in their plots with a dark noirist approach, but killing is only on the surface of their multi-layered narratives. In both films, Dain is interested in the interweaving myth, imperialism and capitalism in the conflict of tradition and modernization. Even though myth has been imbued with fantastic elements, it becomes part of the ideological process of naturalization and has its own role in the origin of the race, history, and identity of a country. Colonialization and capitalism have been gradually destroying traditional cultures and myths that are part of a nation’s ideology. This essay analyzes how traditional cultures and mythologies should become the important elements in resisting the dangers of neo-colonialism that is called globalization. Here, the films Bunohan and Interchange have proved that Dain Said is a film auteur in his own class. Keywords: myth, colonialism, auteur, Malay film, neo-noir Abstract Dain Said salah seorang pengarah filem Malaysia yang berkemampuan tinggi. Dua filem arahannya, Bunohan (2011) dan Interchange (2016) bukan sahaja memenangi anugerah filem terbaik dan pengarah terbaik malah banyak ditayangkan di festival filem dunia yang berprestij. Bunohan dan Interchange berbeza dengan kebanyakan filem Melayu kontemporari. Kedua-dua filem memaparkan tema dan plot yang sama, iaitu pembunuhan dengan pendekatan noirist. Walau bagaimanapun pembunuhan hanya lapisan permukaan yang terdiri daripada beberapa lapis naratif. Dalam kedua-dua filem Dain berminat dengan menggabungkan mitos, imperialisme dan kapitalisme dalam konflik tradisi dan modern. Walaupun mitos bercampur dengan elemen fantasi, tetapi mitos menjadi sebahagian proses ideologi peneutralan. Mitos mempunyai peranannya dalam asal usul bangsa, sejarah dan identiti negara. Kolonialisasi dan kapitalisme dalam diam membunuh budaya tradisi dan mitos yang menjadi sebahagian daripada ideologi negara. Makalah ini menganalisis budaya tradisi dan mitos yang sepatutnya menjadi elemen penting dalam menolak perangkap neo-kolonialisme atau lebih dikenali sebagai globalisasi. Filem Bunohan dan Interchange membuktikan Dain Said sebagai filem auteur yang mempunyai kelasnya yang tersendiri. Keywords: myth, Colonialism, Auteur, Malay film, Neo-Noir

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Kannel, J. W., and T. L. Merriman. "The Effect of Solid Film Lubricants on the Stability of Rolling Element Bearings." Journal of Tribology 109, no. 2 (April 1, 1987): 351–55. http://dx.doi.org/10.1115/1.3261365.

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A technique has been developed for modeling solid films in rolling element bearings. For a given bearing geometry an effective viscosity can be calculated for a solid film as a function of the film shear modulus and ball-race friction coefficient. The calculated effective viscosity can subsequently be used as an input to a numerical model of cage motion and stability. Results from a sample calculation of effective viscosity and prediction of cage stability for a turbopump bearing are presented for films of molybdenum disulfide (MoS2) and polytetrafluoroethylene (PTFE).

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Quanbeck, Aaron. "Black Space: imagining race in science fiction film." Historical Journal of Film, Radio and Television 29, no. 2 (June 2009): 262–64. http://dx.doi.org/10.1080/01439680902890860.

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Manchel, Frank. "Michael Rogin on race, gender and film history." Historical Journal of Film, Radio and Television 17, no. 1 (March 1997): 137–43. http://dx.doi.org/10.1080/01439689700260671.

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McCommons, Jillean. "Unwhite: Appalachia, Race, and Film by Meredith McCarroll." Register of the Kentucky Historical Society 118, no. 1 (2020): 215–16. http://dx.doi.org/10.1353/khs.2020.0015.

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Frisken, Amanda. "Unwhite: Appalachia, Race, and Film by Meredith McCarroll." Journal of Southern History 86, no. 1 (2020): 236–37. http://dx.doi.org/10.1353/soh.2020.0025.

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Fisher, Celeste, and Carole Wiebe. "Race, Sex, and Redemption in Monster's Ball." Ethnic Studies Review 26, no. 2 (January 1, 2003): 68–80. http://dx.doi.org/10.1525/esr.2003.26.2.68.

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In this paper, we explore the way that interracial relationships between blacks and whites come to be represented as problematic for mainstream audiences. By looking specifically at the film Monster's Ball (2001), we examine how race is used to identify and characterize our culture's standard protagonist, the white male, and at how white male sexuality is constructed through the black female. Particularly striking in this film is how the social and institutional structures that create and reiterate problems of race are used to characterize the movie's central protagonists, yet then evaded and submerged in the discourse of romance.

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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (July 2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.

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Benhamou, Eve, and Eve Benhamou. "From the Advent of Multiculturalism to the Elision of Race: The Representation of Race Relations in Disney Animated Features (1995-2009)." Exchanges: The Interdisciplinary Research Journal 2, no. 1 (August 27, 2014): 153–67. http://dx.doi.org/10.31273/eirj.v2i1.106.

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As one of the most powerful purveyors of entertainment in the world, the Disney company has produced blockbuster films, including animated features that have enjoyed enduring popularity. Reflecting and shaping to some extent American popular culture and ideology, they have left vivid images in our memory. Arguably, one of Disney’s most ubiquitous symbol is the beautiful white princess. The representation of race relations in Disney films has always been problematic, sometimes sparking heated debates: non-white characters were either absent or stereotypically portrayed. Nonetheless, in parallel with the advent of multiculturalism in the 1990s, a series of films have foregrounded a new approach on these portrayals, the most notable being Pocahontas (1995), Atlantis (2001), and The Princess and the Frog (2009). In this article, I will examine the evolution of the representation of race, focusing on the film texts and their historical and cultural context, production history, and critical reception. I will argue that the apparent messages of tolerance and promotion of multiculturalism were accompanied and slowly replaced by a colour-blind erasure of race.

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Glenn, Evelyn Nakano. "Gender, Race, and Class." Social Science History 22, no. 1 (1998): 29–38. http://dx.doi.org/10.1017/s0145553200021684.

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For social historians and historical sociologists working in the interdisciplinary fields of ethnic studies and women's studies, the challenges posed by poststructuralism are neither purely intellectual matters nor disciplinary quibbles. Rather, a concern with “rescuing political economy” from being washed away by the tide of poststructuralism is impelled by larger political commitments that transcend the academy.Unlike mainstream disciplines, these fields historically have been connected to social movements dedicated to empowering people marginalized by reason of race, class, and/or gender. Poststructuralism has become a thorny issue in these fields: Many social science- and political economy-oriented scholars have come to feel, whether justifiably or not, that these fields are being “taken over” by literary, film, and cultural studies scholars.

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Phruksachart, Melissa. "The Bourgeois Cinema of Boba Liberalism." Film Quarterly 73, no. 3 (2020): 59–65. http://dx.doi.org/10.1525/fq.2020.73.3.59.

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If what characterizes Asian American radical politics in 2020 is an articulation of the difference between, and interrelatedness of, the Asian diasporic elite and the migrant poor, the 2018 Asian American films Crazy Rich Asians and Searching achieved mainstream success by celebrating the emergence of the former. The media paratexts of Crazy Rich Asians used race-consciousness as putative resistance, engendering “messianic visibility”—an over-investment in cinematic identification as possessing transformative, even curative, political and personal potential for liberal cisheteronormativity. Meanwhile, Searching's marketing as a film not about race was a significant talking point in the U.S. press. Its colormuteness functioned to normalize the entanglement of Asian diasporic elites in the ranks of Silicon Valley's digital empire. The films’ lack of friction in relation to surveillance capitalism and neoliberal empire ultimately highlights the contradictions of race and/as resistance in the present moment.

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Anderson, Katie Elizabeth. "Film as a reflection of society: interracial marriage and Stanley Kramer’s Guess Who’s Coming to Dinner in late 1960s America." SURG Journal 4, no. 1 (October 5, 2010): 23–29. http://dx.doi.org/10.21083/surg.v4i1.1105.

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This paper explores the debate of whether Hollywood films act as influential and progressive forces in a society, or do they serve as a larger reflection of that society. I examine Stanley Kramer’s film Guess Who’s Coming to Dinner (1967), about an interracial marriage between a black man and a white woman. Was the film progressive for its time, or was it reflective of the social attitudes in late 1960s America? I argue that although there are aspects of the film that can be construed as progressive and influential for the era, the film more accurately serves as a reflection of the larger socio-political context of 1960s America in regards to both attitudes of opposition and acceptance of interracial marriage. Furthermore, a brief comparison is also made between the film and contemporary issues surrounding race relations in 21st Century America.

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Bucholtz, Mary. "Race and the re-embodied voice in Hollywood film." Language & Communication 31, no. 3 (July 2011): 255–65. http://dx.doi.org/10.1016/j.langcom.2011.02.004.

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Kristensen, Lars, and Christo Burman. "Soviet Estonian bicycle film: sport, nation and race narratives." Studies in Eastern European Cinema 8, no. 1 (November 9, 2016): 62–77. http://dx.doi.org/10.1080/2040350x.2017.1249191.

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Anderson, Alecia, and Scott Grether. "Reviewing the Reviews: Discussions of Race by Film Reviewers." Sociological Spectrum 37, no. 3 (May 4, 2017): 188–204. http://dx.doi.org/10.1080/02732173.2017.1319306.

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Palis, Eleni. "Race, authorship and film quotation in post-classical cinema." Screen 61, no. 2 (2020): 230–54. http://dx.doi.org/10.1093/screen/hjaa012.

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Yue, Genevieve. "The China Girl on the Margins of Film." October 153 (July 2015): 96–116. http://dx.doi.org/10.1162/octo_a_00228.

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The “China Girl” has appeared in more films than any actress, but she is almost never seen. Used in industrial film laboratories since the late 1920s, this image-nearly always a woman positioned next to color swatches and patches of white, gray, and black—is clipped to the leader of a film reel and used throughout the processing, developing, and printing of photochemical film to determine the desired exposure, density, and ideal appearance of the human body. This article addresses the China Girl's essential but often overlooked role in film history, specifically as it pertains to questions of race, gender, and visibility. It also surveys the work of various experimental filmmakers, including Owen Land, Morgan Fisher, Barbara Hammer, Sandra Gibson and Luis Recoder, Cécile Fontaine, and Mark Toscano, who have used the China Girl image to explore issues of celluloid materiality, the behind-the-scenes workings of the film industry, and the often marginal role of women both in front of and behind the camera.

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Hiramoto, Mie, and Phoebe Pua. "Racializing heterosexuality: Non-normativity and East Asian characters in James Bond films." Language in Society 48, no. 4 (August 21, 2019): 541–63. http://dx.doi.org/10.1017/s0047404519000381.

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AbstractThis article investigates how naturalized models of hegemonic masculinity affect race and sexuality in the James Bond film series. Through close analysis of film dialogue and paralinguistic cues, the article examines how the sexualities of East Asian female and male characters are constructed as oversexed and undersexed, respectively. The analysis therefore affirms Connell's (1995) conception of white heterosexual masculinity as exemplary: East Asian characters are positioned not only as racial Others, but as bodies upon which Bond's heterosexual masculinity is reflected and affirmed as normative and, by extension, ideal. In this way, race is curiously invoked to ‘explain’ sexuality, and Bond's unmarked white masculinity becomes the normative referent for expressions of heterosexual desire. By showing how the sexuality of East Asian characters is typecast as non-normative, the article gestures toward the possibility of theorizing racialized performances of heterosexuality as queer. (East Asia, James Bond, sexuality, race, masculinity, femininity, normativity, film)*

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Allison, Tanine. "Race and the digital face: Facial (mis)recognition in Gemini Man." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 29, 2021): 999–1017. http://dx.doi.org/10.1177/13548565211031041.

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Ang Lee’s 2019 film Gemini Man features the most realistic digital human to grace the cinematic screen, specifically a computer-generated version of young Will Smith who battles his more aged self throughout the film. And for the first time in film history, this photorealistic digital human is Black. This essay explores why this groundbreaking achievement has not been acknowledged or celebrated by the film's production or publicity teams. I argue that Will Smith’s particular “post-racial” identity mediates contemporary concerns related to the racialized implications of facial recognition and other digital imaging technologies, as well as to the future of the film industry in the digital age. In the second half of the essay, I examine how the appearance of Will Smith in deepfake parody videos illustrates how race circulates on screens of various media formats. I conclude with a call to use digital visual effects, deepfake tools, and other advanced technologies to further racial justice instead of repeating the problematic usage of the past.

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Duong, Lan. "Close up: The female gaze and ethnic difference in two Vietnamese women's films." Journal of Southeast Asian Studies 46, no. 3 (September 14, 2015): 444–62. http://dx.doi.org/10.1017/s0022463415000338.

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This article looks at two contemporary films by Vietnamese women. In Việt Linh's Travelling Circus (1988) and Phạm Nhuệ Giang's The Deserted Valley (2002), a female gaze is sutured to that of an ethnic minority character's, a form of looking that stresses a shared oppression between women and the ethnic Other. While clearing a space for a desiring female gaze in Vietnamese film, they nonetheless extend an Orientalist view of racialised difference. A feminist film optic, one that does not consider industry history and constructions of race, fails to mark out the layered relations of looking underlying Vietnamese filmmaking. This study attends to the ways women filmmakers investigate gendered forms of looking, sexual desire and otherness within the constraints of a highly male-dominated film industry.

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Hoyos García, David. "POST-COLONIAL NARRATIVE AND LANGUAGE AS AESTHETIC MATTER IN CIRO GUERRA’S EMBRACE OF THE SERPENT." Luciérnaga-Comunicación 11, no. 21 (June 2019): 60–73. http://dx.doi.org/10.33571/revistaluciernaga.v11n21a3.

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The text analyzes the characteristics of colonial structures: race, ethnicity and loss of innocence, in the film by the Colombian director Ciro Guerra, Embrace of the Serpent (2015). For this, a dialogue is created with theoretical ideas from Fanon, Quijano, Shohat and Stam. This film is considered a critical postcolonial film.

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Alemán, Sonya M., and Enrique Alemán. "Critical Race Media Projects." Urban Education 51, no. 3 (February 9, 2016): 287–314. http://dx.doi.org/10.1177/0042085915626212.

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This article maps out two critical race media projects – a documentary and a Chicana/o-centric student newspaper – developed by Chicana/o scholars seeking to fulfilll the promise of praxis hailed by critical race theorists. Fortified and guided by the quintessential tenets of critical race theory and Latino critical race theory, these critical race media projects not only apply, but also extend these principles to seek educational and community transformation. As such, the production process for both documentary and student newspaper merge research and activism in order to cultivate figurative and literal spaces that encourage and allow for the recuperation of memory, archiving forgotten history, and the self-determination of contemporary identities and belonging. By harnessing critical race theory’s counter story-telling focus, these projects cultivate the voices of resistance and reclamation in Latina/o communities, transcending the Black/White paradigm that bounds a majority of critical race scholarship. In addition, both the film and quarterly newspaper uniquely sharpen the theoretical framework’s analytic critique of language, discourse and representation, exemplifying the inimitable power of words to both heal and wound.

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Chanter, Tina. "Abjection and the Constitutive Nature of Difference: Class Mourning in Margaret's Museum and Legitimating Myths of Innocence in Casablanca." Hypatia 21, no. 3 (2006): 86–106. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01115.x.

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This essay examines the connections between ignorance and abjection. Chanter relates Julia Kristeva's notion of abjection to the mechanisms of division found in feminist theory, race theory, film theory, and cultural theory. The neglect of the co-constitutive relationships among such categories as gender, race, and class produces abjection. If those categories are treated as separate parts of a persons identity that merely interlock or intermesh, they are rendered invisible and unknowable even in the very discourses about them. Race thus becomes gender's unthought other, just as gender becomes the excluded other of race. Via an exploration of Margaret's Museum and Casablanca, the author shows why the various sexual, racial, and nationalist dynamics of the two films cannot be reduced to class or commodity fetishism, following Karl Marx, or psychoanalytic fetishism, following Sigmund Freud and Jacques Lacan. Whether they are crystallized in Marxist or Lacanian terms, fetishistic currencies of exchange are haunted by an imaginary populated by unthought, abject figures. Ejected from the systems of exchange consecrated as symbolic, fragmented, dislocated, diseased body parts inform and constitute meaning.

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Torchin, Leshu. "Alienated Labor's Hybrid Subjects: Sorry to Bother You and the Tradition of the Economic Rights Film." Film Quarterly 72, no. 4 (2019): 29–37. http://dx.doi.org/10.1525/fq.2019.72.4.29.

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Leshu Torchin uses Sorry to Bother You, Boots Riley's genre-defying take on race, slavery, and capitalism in 21st century America, as a launching pad for a broader discussion of what she terms the “economic rights” film. Often global in scope, these films argue for rights to sustenance, shelter, education, health, and labor while mapping out the myriad systems that impede access to these rights. Torchin suggests that Sorry's playful hybridity, combining science fiction, performance art, and even corporate-video mockumentary to invoke recent experimentations in black American media, belies a preoccupation around labor that positions the film within the “economic rights” film's robust legacy.

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Elsaket, Ifdal. "SOUND AND DESIRE: RACE, GENDER, AND INSULT IN EGYPT'S FIRST TALKIE." International Journal of Middle East Studies 51, no. 2 (May 2019): 203–32. http://dx.doi.org/10.1017/s0020743819000023.

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AbstractThis article explores the coloniality of gender, sexuality, and desire, and the links between nationalist and commercial imperatives, in the making of Egypt's first sound film, or talkie, in 1932. Through an analysis of the politics, economy, and memory of Yusuf Wahbi's filmAwlad al-Dhawat(Sons of the Aristocrats), it shows how the interplay between new sound technologies, the global film trade, and nationalist and racialized narratives of gender and resistance shaped the contours of ideal femininity and masculinity during the interwar period in Egypt. The article also shows how the film's representations formed at the intersection between the filmmakers’ attempts to challenge colonial stereotyping and their efforts to capture an ever-expanding global film market. Often neglected in cinema scholarship, early filmmaking in Egypt, I argue, is critical to understanding wider processes of nation formation and gendered characterizations.

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Berry, Chris. ""Race" ([min] [zu]): Chinese Film and the Politics of Nationalism." Cinema Journal 31, no. 2 (1992): 45. http://dx.doi.org/10.2307/1225143.

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Johanyak, Debra, Jun Xing, and Lane Ryo Hirabayashi. "Reversing the Lens: Ethnicity, Race, Gender, and Sexuality through Film." African American Review 38, no. 1 (2004): 164. http://dx.doi.org/10.2307/1512245.

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Valdez, Inés. "Reel Latinas? Race, gender, and asymmetric recognition in contemporary film." Politics, Groups and Identities 1, no. 2 (June 2013): 181–98. http://dx.doi.org/10.1080/21565503.2013.785957.

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Liu, Jing, and Yimin Shao. "Vibration modelling of nonuniform surface waviness in a lubricated roller bearing." Journal of Vibration and Control 23, no. 7 (August 8, 2016): 1115–32. http://dx.doi.org/10.1177/1077546315589675.

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Surface waviness is one important source of vibrations in a roller bearing. When the surface waviness occurs on the surface of the inner or outer race of a roller bearing, a time-varying deflection excitation and a time-varying contact stiffness excitation can be generated due to the changes in the curvature radii of the race with surface waviness at the contact position between the roller and the race of the roller bearing. In this paper, a new dynamic model (TDCE model) considering both the time-varying deflection excitation, the time-varying contact stiffness excitation, and the lubricating oil film is proposed to investigate vibration responses of a lubricated roller bearing with a uniform and a nonuniform surface waviness on its races, which cannot be accurately modelled by the previous time-varying deflection excitation (PTDE) model in the literature. Effects of the number, the maximum amplitude, and the nonuniform distribution of the surface waviness on the contact stiffness between one roller and the race with surface waviness are investigated, as well as the vibration responses of a lubricated roller bearing. Numerical results from the proposed model are compared with those from the PTDE model in the literature, which shows that the proposed TDCE model can provide more accurate impulses generated by the surface waviness on the races of the roller bearing. Moreover, the results show that the proposed method can provide a new vibration modelling method for a lubricated roller bearing with the uniform and nonuniform surface waviness on its races.

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Rahayu, Nurhadianty. "The Portrayal of Gender and Race in Cars Trilogy." ATAVISME 22, no. 1 (June 26, 2019): 75–87. http://dx.doi.org/10.24257/atavisme.v22i1.532.75-87.

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As the most commercially successful animated film, Cars trilogy, produced by Pixar Animation Studios, are opted to be analysed due to its impact on formulating perception of gender and race. Considering that intolerance and gender-based injustice still happens within our society, any discussion about gender and race portrayal, particularly through films, becomes urgent. The study aims at investigating how gender and race are portrayed in Cars trilogy. Gender portrayal is analysed through Beauvoir’s concept of immanence and transcendence and Finklea’s themes about masculinities. The portrayal of race is investigated using McLaren’s critical multiculturalism. The study uses the descriptive analytical interpretative method. The data analyzed are the characters, dialogue, and plot. The result shows that men and women are portrayed as equal but the stereotypes are still visible. Men are portrayed not only brave but also confident. Males’ romantic interest is manifested in heterosexual desire and male bosses are driven by profit. Women can be successful in racing if she dares to intervene the bureaucracy or is given opportunity by men. Different accent of English is seen as less capable and white characters are not always portrayed unproblematic.

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Matias, Cheryl E. "Do you SEE the words coming out of that text?: Seeing Whiteness in Digital Text." International Journal of Multicultural Education 22, no. 2 (August 31, 2020): 14. http://dx.doi.org/10.18251/ijme.v22i2.2411.

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Though texts are commonly perceived as merely written, this article explores texts in a more complex manner: in digital form. First, the paper posits the importance of “reading” digital texts (e.g., social media, films, memes, etc.) and demonstrates how such texts transmit hegemonic ideas about race and whiteness, which ultimately reifies white supremacy in society. Using a variety of critical theories such as critical studies of whiteness and critical theories of race, this article deconstructs digital texts (particularly film and social media) to demonstrate how whiteness gets embedded in digital text in almost invisible ways. Additionally, this article employs Yosso’s (2002) critical race media literacy (CRML) not only to divulge racial stereotypes in digital texts but also to demonstrate how CRML can be pedagogically and metacognitively applied to reveal how whiteness also gets embedded in digital texts. This article serves as a metacognitive model as to how readers can learn to read whiteness within digital texts.

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Nichols, Dugan. "Preternatural Claims, Precarious Workers: The Content and Distribution of the Most Successfully Crowdfunded Documentary." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 76–102. http://dx.doi.org/10.5195/cinej.2014.97.

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This article examines the raced, gendered, and classed world of UFO-related media with the intention of assessing its potential as a form of resistance. I use as a case study the largest crowdsourced documentary of all time, Sirius (2013), which explores exotic technologies and the exploits of ufologist, Dr. Steven Greer. Sirius’s affiliates conducted immaterial, post-Fordist labor to distribute the environmentally conscious film online, yet despite their progressive, utopian bent, they indicate that any technologies associated with the film will operate under market logic. Moreover, Sirius recycles racially fraught tropes of UFO culture, such as reflecting white ufologists’ desire to experience the Other or subject to understanding a gray race of beings they fear has challenged their racially privileged status.

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Charlebois, Justin. "Developing Critical Consciousness Through Film." TESL Canada Journal 26, no. 1 (June 1, 2008): 124. http://dx.doi.org/10.18806/tesl.v26i1.133.

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Recent instructional trends in the field of TESOL emphasize teaching language through course content. The dual focus of content-based English instruction (CBI) provides a way for language teachers to engage learners with challenging material while increasing their linguistic proficiency. This article describes a unit in a CBI course at a Japanese university that was designed to promote the development of critical consciousness (Freire, 2005) through the analysis of a film. Students identified race- and gender-related issues, engaged in discussions about these issues, and finally wrote a critical response paper to the film.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 2 (2019): 62–65. http://dx.doi.org/10.1525/fq.2019.73.2.62.

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FQ columnist Bilal Qureshi compares two seemingly similar summer movies: Gurinder Chadha's Blinded by the Light and Danny Boyle's Yesterday, both of which feature music-obsessed South Asian male leads. However, while Boyle's film adopts a race-blind perspective, promoting a vision (or fantasy) of a multiracial Britain of friendships and intimacy, in Blinded by the Light, Chadha pushes her long-standing interest in race and multiculturalism beyond the feel-good sensibilities of her earlier hit, Bend it Like Beckham. Instead, Qureshi argues, Chadha has made a subversively political film, bristling with an urgent plea for empathy, inspired by the blinding xenophobia of Brexit.

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Baggesgaard, Mads Anders. "Farvebilleder fra det mørke Afrika - Race, krop, økonomi og politik i Mahamet-Saleh Harouns Grigris." K&K - Kultur og Klasse 43, no. 119 (September 29, 2015): 103–26. http://dx.doi.org/10.7146/kok.v43i119.22247.

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Analyzing Tchadian director Mahamet-Saleh Haroun’s 2013 film Grigris the article discusses the political potentials of contemporary Sub-Saharan Film. The article rejects frameworks of African and Francophone cinema and argues that a localized understanding of this film in Chad provides a better understanding of the universal and global reach of the engagement with politics that is one of the film’s prime objectives. It is through an understanding of the local and regional society and history that it becomes evident how the film engages with political issues with reach far beyond the borders of Chad. This engagement is performed through the screening of bodies, of race highlighting the role that these entities play in Chadian society and Chadian politics.

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Hogan, Erin K. "Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008)." Open Cultural Studies 1, no. 1 (December 20, 2017): 454–67. http://dx.doi.org/10.1515/culture-2017-0042.

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Abstract In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondry’s film “swedes,” its playful neologism for ersatz remaking of Hollywood and classic films, Miguel de Cervantes’s Don Quixote. The feature follows the Sanchification of Jerry (Jack Black), Gondry’s Don Quixote, and Quixotification of Mike (Mos Def), Gondry’s Sancho, as they nostalgically wrong cinematic rights through sweding and try to save their working-class neighbourhood from condemnation and gentrification through community film making. Gondry swedes the Quixote through his engagement with major themes and operations in Cervantes’s classic, including nostalgia, story-telling, conflicts between reality and fantasy, authorship, the grotesque and carnivalesque, (anti-)heroes, race and gender-bending, genre, and addressees turned addressers. This article discusses Be Kind Rewind’s relationship to Hollywoodian and Cervantine classics through the theoretical frameworks of Julio Garcia Espinosa’s imperfect cinema and Foucauldian semiotics, respectively. Be Kind Rewind uses and abuses Hollywood stereotypes to re-purpose them for a critique of discriminatory practices. Where casting is concerned and where Michel’s characters diverge from Miguel’s, Be Kind Rewind advances that skin colour is not an arbitrary sign and that race has historical and contemporary meaning in intercultural interactions.

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COUVARES, FRANCIS G. "So This Is Censorship: Race, Sex, and Censorship in Movies of the 1920s and 1930s." Journal of American Studies 45, no. 3 (March 24, 2011): 581–97. http://dx.doi.org/10.1017/s0021875811000041.

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AbstractThe curious case of So This Is Africa (Columbia, 1933) shows that both Hollywood's in-house censors and state and local censors took seriously cinematic violations of racial and sexual norms. This spoof of “jungle” films exploited audience interest in a cycle of fictional and nonfictional depictions of “primitive” life. These films claimed partial exemption from taboos against sexual and racial boundary-crossing, and usually showed unclothed “native” women. But So This Is Africa went further. However farcical, its suggestions of adultery, interracial sex, homosexuality, and even bestiality raised an unusually large storm among the censors. Cut by one-third, the film still outraged many and helped precipitate the industry's creation of the Production Code Administration, designed to police the screen more tightly.

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Xiaofei, Wang. "Movies Without Mercy: Race, War, and Images of Japanese People in American Films, 1942-1945." Journal of American-East Asian Relations 18, no. 1 (2011): 11–36. http://dx.doi.org/10.1163/187656111x577465.

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AbstractHistorian John Dower titles his book War Without Mercy. Similarly, wartime Hollywood showed no mercy when depicting Japanese. Negative portrayals were often based on actual atrocities, but it was racism to demonize an entire people and culture. The story of how politics in Hollywood and Washington, the conduct of war, and international relations shaped and changed film racism involves a much more complex approach than has been practiced to date. Using archives of film studios, the Production Code Administration (PCA), and governmental agencies such as the Office of War Information (OWI), this article traces the power struggle among them and a new racism which emerged after 1941. Filmmakers now projected favorable images of Chinese to distinguish their new allies from the Japanese enemy. OWI struggled to promote a liberal agenda which saw the enemy as world fascism, not the Japanese people. The article analyzes more than two dozen films to trace the complications in three types of wartime screen racism: (1) "Verbal racism," such as derogating words like "Jap." (2) "Physical racism," which dramatized and ridiculed physical characteristics of Japanese people. (3) "Psychological racism," which saw all Japanese people as cruel and treacherous.

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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.

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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock and roll's emergence. The transformation of rock 'n' roll from “race music” to the safe alternative for white bourgeois males in the face of new wave, punk, disco and hip hop, reflected in the establishment of oldies radio formats and revival tours, was aided and abetted by oldies soundtracks to Hollywood film.

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Journal articles on the topic 'Race in film'

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