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From Al Jolson in blackface to Song of the South, there is a long history of racism in Hollywood film. Yet as early as the 1930s, movie studios carefully vetted their releases, removing racially offensive language like the \"N-word.\" This censorship did not stem from purely humanitarian concerns, but rather from worries about boycotts from civil rights groups and loss of revenue from African American filmgoers. Cinema Civil Rightspresents the untold history of how Black audiences, activists, and lobbyists influenced the representation of race in Hollywood in the decades before the 1960s civil rights era. Employing a nuanced analysis of power, Ellen C. Scott reveals how these representations were shaped by a complex set of negotiations between various individuals and organizations. Rather than simply recounting the perspective of film studios, she calls our attention to a variety of other influential institutions, from protest groups to state censorship boards. Scott demonstrates not only how civil rights debates helped shaped the movies, but also how the movies themselves provided a vital public forum for addressing taboo subjects like interracial sexuality, segregation, and lynching. Emotionally gripping, theoretically sophisticated, and meticulously researched,Cinema Civil Rightspresents us with an in-depth look at the film industry's role in both articulating and censoring the national conversation on race.

No detailed description available for \"Watching While Black Rebooted!\".

Hollywood at the Intersection of Race and Identity explores the ways Hollywood represents race, gender, class, and nationality at the intersection of aesthetics and ideology and its productive tensions. This collection of essays asks to what degree can a close critical analysis of films, that is, reading them against their own ideological grain, reveal contradictions and tensions in Hollywood's task of erecting normative cultural standards? How do some films perhaps knowingly undermine their inherent ideology by opening a field of conflicting and competing intersecting identities?  The challenge set out in this volume is to revisit well-known films in search for a narrative not exclusively constituted by the Hollywood formula and to answer the questions: What lies beyond the frame? What elements contradict a film's sustained illusion of a normative world? Where do films betray their own ideology and most importantly what intersectional spaces of identity do they reveal or conceal? 

The rise of cinema as the predominant American entertainment around the turn of the last century coincided with the migration of hundreds of thousands of African Americans from the South to the urban \"land of hope\" in the North. This richly illustrated book, discussing many early films and illuminating black urban life in this period, is the first detailed look at the numerous early relationships between African Americans and cinema. It investigates African American migrations onto the screen, into the audience, and behind the camera, showing that African American urban populations and cinema shaped each other in powerful ways. Focusing on Black film culture in Chicago during the silent era,Migrating to the Moviesbegins with the earliest cinematic representations of African Americans and concludes with the silent films of Oscar Micheaux and other early \"race films\" made for Black audiences, discussing some of the extraordinary ways in which African Americans staked their claim in cinema's development as an art and a cultural institution.

Dance and the Hollywood Latinaasks why every Latina star in Hollywood history, from Dolores Del Rio in the 1920s to Jennifer Lopez in the 2000s, began as a dancer or danced onscreen. While cinematic depictions of women and minorities have seemingly improved, a century of representing brown women as natural dancers has popularized the notion that Latinas are inherently passionate and promiscuous. Yet some Latina actresses became stars by embracing and manipulating these stereotypical fantasies.Introducing the concepts of \"inbetween-ness\" and \"racial mobility\" to further illuminate how racialized sexuality and the dancing female body operate in film, Priscilla Peña Ovalle focuses on the careers of Dolores Del Rio, Rita Hayworth, Carmen Miranda, Rita Moreno, and Jennifer Lopez.Dance and the Hollywood Latinahelps readers better understand how the United States grapples with race, gender, and sexuality through dancing bodies on screen.

This paper investigates claims about the typical physical characteristics of Jesus when he is portrayed in film. A number of critics have referred to a recurring blond-haired, blue-eyed Jesus. In reviewing the academic literature, a lack of clarity was found as to any patterns that do exist in this area. An ensuing analysis of the top-grossing films from the last forty years revealed that the recent pattern may be very different from what critics and academics describe.

Stereotypes are people or things categorised by general characteristics of the group based on a truth that is widely recognised and function to reduce ideas to a simpler form (Dyer, 1993). Not all stereotypes are pejorative but can be a form of othering of people (Bhabha, 1996) and come about through a friction with difference (Jameson, 1995). In Johannesburg, South Africa, there is a conflation of people and space that results in a form of spatial categorisation or stereotyping. Under the apartheid government the city’s spaces were divided by race and ethnicity and are currently shifting towards divisions of class and inequality deepening the fragmented post-apartheid conditions in the city. These spatial categories have been represented in films of Johannesburg and contribute to the construction of the city’s image but also construct images for particular neighbourhoods. In this paper I examine the use of space in film as a narrative device and explore the reception and understanding of Johannesburg’s spaces by its residents to illustrate the construction and reception of spatial stereotypes. The paper discusses three dominant spatial stereotypes of Johannesburg through key films and the reception of these films through quantitative and qualitative interviews conducted with residents in four locations (Chiawelo; CBD; Fordsburg and Melville) in Johannesburg. Stereotypes have negative consequences and these spatial stereotypes reflect the ‘city of extremes’ (Murray, 2011) but their use indicates a process of navigation and negotiation across differences in space and identity in the fragmented city of Johannesburg. “刻板印象”是指，根据被广泛认可的事实、以及某个简化概念的公式，将人或事物归类为一般 特征群体（Dyer, 1993)。不是所有的“刻板印象”都是贬义的，但它可能成为人的一种异化 (Bhabha, 1996 ) ,并通过与差异的摩擦而产生（Jameson, 1995)。在南非约翰内斯堡，人与 空间共同导致了空间分类或“刻板印象”。过去，在种族隔离政府的控制下，这座城市的空间被 根据种族和民族分裂。而目前，它又正在转向被阶层和不平等分裂，这一切加深了这座城市后 种族隔离世代的割裂状态。这些空间类别在关于约翰内斯堡的电影中得到了体现，它推动了城 市形象的形成，同时也推动了特定社区形象的形成。在本文中，我将探讨电影如何利用空间作 为叙事手段，并探讨居民对约翰内斯堡空间的接受和理解，以说明空间“刻板印象”的建构和接受。本文透过重要的电影以及对这些电影的接受讨论了约翰内斯堡的三种主要的空间“刻板印象”，我们的方法是对约翰内斯堡四个地点（Chiawelo、CBD、Fordsburg、和Melville) 的居民进 行定性和定量访谈。“刻板印象”有消极后果。这些空间“刻板印象”体现了一个了“极端城市” (Murray, 2011)，但它们的使用也表明了在约翰内斯堡这座被割裂的城市，人们跨越空间和 身份差异的探索和协商过程。

Bharatiya Janata Party, the ruling party of an emergent Indian nation-state, has, from its genesis ventriloquized and brandished its exacerbating agenda of Hindu Fundamentalism in a flawed myth of an anecdotal Hindu Nationalist past where non-Hindus are conveniently ostracized. This political gambit is deployed to manufacture an overblown theory of a decline in Hindu culture, the best resonance of which is the Citizenship (Amendment) Act of 2019, discriminating, and interrogating the legitimacy of specific communities on sheer grounds of religion. Amit Masurkar's film of 2021, Sherni (The Tigress) provides a critical insight into this brutal Racial Politics pervading an upper caste Hindu society, in the guise of a subtle sub-text, camouflaged within a distracting narrative of Man versus Nature. This paper facilitates the reading of this hidden discourse of Realpolitik alongside the predominant cultural narrative of gender and natural domination. Through a palimpsestuous reading, it explores themes of racial exclusion and segregation in an Ultra-Right Hindu Nation that the film silently addresses. Furthermore, this paper challenges the dominant narrative of Ecofeminism, to instead investigate the categories of race and ethnicity that intersect gender issues.

Shonda Rhimes is one of the most powerful players in contemporary American network television. Adventures in Shondaland critically explores Shonda Rhimes's meteoric rise to stardom, her reign (or cultural appointment) as television's diversity queen, and Shondaland's almost-universally lauded melodramatic narratives.

Los Angeles pulsed with economic vitality and demographic growth in the decades following World War II. This vividly detailed cultural history of L.A. from 1940 to 1970 traces the rise of a new suburban consciousness adopted by a generation of migrants who abandoned older American cities for Southern California's booming urban region. Eric Avila explores expressions of this new \"white identity\" in popular culture with provocative discussions of Hollywood and film noir, Dodger Stadium, Disneyland, and L.A.'s renowned freeways. These institutions not only mirrored this new culture of suburban whiteness and helped shape it, but also, as Avila argues, reveal the profound relationship between the increasingly fragmented urban landscape of Los Angeles and the rise of a new political outlook that rejected the tenets of New Deal liberalism and anticipated the emergence of the New Right. Avila examines disparate manifestations of popular culture in architecture, art, music, and more to illustrate the unfolding urban dynamics of postwar Los Angeles. He also synthesizes important currents of new research in urban history, cultural studies, and critical race theory, weaving a textured narrative about the interplay of space, cultural representation, and identity amid the westward shift of capital and culture in postwar America.