Cantitate/Preț
Produs
Total produse
Vezi coșul
Black Magic: White Hollywood and African American Culture de Krin Gabbard

Black Magic: White Hollywood and African American Culture

Autor Krin Gabbard
en Limba Engleză Paperback – 30 mar 2004
Why do so many African American film characters seem to have magical powers? And why do they use them only to help white people? When the actors are white, why is the sound track so commonly performed by African Americans? And why do so many white actors imitate black people when they wish to express strong emotion? As Krin Gabbard brilliantly reveals in Black Magic, we duly recognize the cultural heritage of African Americans in literature, music, and art, but there is a disturbing pattern in the roles that blacks are asked to play-particularly in the movies. Many recent films, including The Matrix, Fargo, The Green Mile, Ghost, The Talented Mr. Ripley, Pleasantville, The Bridges of Madison County, and Crumb, reveal a fascination with black music and sexuality even as they preserve the old racial hierarchies. Quite often the dependence on African American culture remains hidden-although it is almost perversely pervasive. In the final chapters of Black Magic, Gabbard looks at films by Robert Altman and Spike Lee that attempt to reverse many of these widespread trends.
Citește tot Restrânge

Preț: 28981 lei

Nou

Puncte Express: 435
Preț estimativ în valută:
5546€ • 5792$ • 4598£

Carte tipărită la comandă

Livrare economică 11-25 februarie 25

 Adaugă în coș

Wish list
Gift list
Am citit!
Adaugă în listă
Preluare comenzi: 021 569.72.76

Specificații

ISBN-13: 9780813533841
ISBN-10: 0813533848
Pagini: 344
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.51 kg
Ediția:None
Editura: Rutgers University Press
Colecția Rutgers University Press

Notă biografică

Krin Gabbard is a professor of comparative literature and English at the State University of New York at Stony Brook. He is the author most recently of Jammin' at the Margins: Jazz and American Culture.

Cuprins

Black magic, disembodied. Marlon Brando's jazz acting and the obsolescence of blackface ; Borrowing Black masculinity: Dirty Harry finds his gentle side ; Passing tones: The talented Mr. Ripley and Pleasantville
Serving the white audience. The racial displacements of Ransom and Fargo ; Black angels in America : millennial solutions to the "race problem"
Unrepresentable subjects. Evidence : Thelonious Monk's challenge to jazz history ; Revenge of the Nerds : representing the White male collector of Black music
Black magic, inverted. Robert Altman's jazz history lesson ; Spike Lee meets Aaron Copland

Recenzii

Gabbard's book is a joy to read, a really fine, original piece of work. He detects a significant pattern in contemporary American cinema, and with great critical insight and clear explanations, he traces its themes and variations.

This is a clearly written, well-argued book . . . both readable and intellectually rigorous. The author's case that white appropriation of African American culture has shifted from obvious and literal forms to the disembodiment of black expressions is astutely demonstrated by his exploration of the intersection of jazz and the narratives of popular commercial films.Ed Guerrero, Cinema Studies, New York University

"Gabbard's rcih book reveals that cultural critics have only begun to fathom the sublime and the ridiculous extent of racial appropriations of black culture in white American films. As this book shows, it is both 'magical' and appalling.Linda Williams, author of Playing the Race Card:Melodramas of Black and White from Uncle Tom to O.J. Simpson

Descriere

As Krin Gabbard brilliantly reveals in Black Magic, we duly recognize the cultural heritage of African Americans in literature, music, and art, but there is a disturbing pattern in the roles that blacks are asked to play-particularly in the movies. Many recent films, including The Matrix, Fargo, The Green Mile, Ghost, The Talented Mr. Ripley, Pleasantville, The Bridges of Madison County, and Crumb, reveal a fascination with black music and sexuality even as they preserve the old racial hierarchies. Quite often the dependence on African American culture remains hidden-although it is almost perversely pervasive. In the final chapters of Black Magic, Gabbard looks at films by Robert Altman and Spike Lee that attempt to reverse many of these widespread trends.