Pokrewne
- Strona Główna
- Christian Apocrypha and Early Christian Literature. Transl. By James
- Ebook Pdf Ms Press Programming Microsoft Sql Server 2000 With Microsoft Visual Basic Net
- Mary Joe Tate Critical Companion to F. Scott Fitzgerald, A Literary Reference to His Life And Work (2007)
- Russell Elliott Murphy Critical Companion to T. S. Eliot, A Literary Reference to His Life and Work (2007)
- April Gentry Critical Companion to Herman Melville, A Literary Reference to His Life And Work (2006)
- Olszakowski Tomasz Pan Samochodzik i zaginiony pociag
- e95 Blawatska DoktrynaTajemna 1 2
- R E 07 (3)
- Keyes Marian Czarujący mężczyzna
- MAREK KRAJEWSKI Edward Popielski 03.Liczby Harona (2011)
- zanotowane.pl
- doc.pisz.pl
- pdf.pisz.pl
- negatyw24.htw.pl
[ Pobierz całość w formacie PDF ]
.Filmed in a documentary style, using acast of mostly amateur actors from New Hampshire, Lost Boundaries alsodepicts the effects of the revelation of black heritage on the doctor s twochildren, who have grown up believing themselves to be white.The filmfocuses particular attention on their son Howard, who responds to hisparents disclosure by running away to Harlem to discover his roots. From Harlem, represented as primitive, bleak, and degenerate, Howardeventually returns via a kind black police officer to New Hampshire,where he and the family are reunited and, ultimately, absolved for havingcommitted a racial transgression.As these brief synopses suggest, in both Pinky and Lost Boundaries thecinematic representation of racial passing is structured by the notion(ultimately related to national ideologies of the American Dream) thatclass and social mobility may be sources of racial transcendence for theirjuridically black protagonists.In these films, the first by white U.S.film-makers to centralize the experiences of characters who pass for white,the narrative of racial passing, previously associated in Hollywood cin-ema with the sexualized threat of invisible darkness to white racialpurity, is paradoxically retooled as a means of depicting the social andeconomic rewards of American citizenship for a national audience.I sayparadoxically, because although Pinky and Lost Boundaries are eager toadvance the notion of a United States in which industry and talent arethe keys to middle-class success for all citizens, regardless of racial iden-tity, they do so in a context that insists on the fundamental stability ofthe black/white binary.Both films construct narratives in which juridi-cally black protagonists are disciplined for attempting to cross the line asa means of realizing social, economic, or professional ambitions a nar-rative outcome that was, in any case, already predetermined by the in-famous Hays and Breen offices, which threatened to censor any U.S.film10that gave the appearance of tolerating so-called racial miscegenation.At the same time, given their explicit commitment to popularizing a lib- Passing and Cinematic Representation 87eral postwar civil rights agenda whose goals included racial integrationand the expansion of black citizenship rights, Pinky and Lost Boundariesare at pains to present their protagonists with alternative ways of enter-ing (or remaining within) the ranks of the growing postwar middle class.In effect, the films enable their protagonists to realize their American dreams of professional success while also insisting that they remain intheir places, racially speaking.The conclusions I draw from my analysis of Pinky and Lost Boundariessupport this study s larger contention that the national narrative of classmobility as the opportunity of every deserving citizen is tied in complexways to the stability of race as a means of collective social organization.According to this argument, the economic and professional successes ofthe protagonists in these films signal not so much their transcendenceof racial discrimination and segregation (that is, the transcendence thatis the promise of passing) as their incorporation into an occupationaland reward hierarchy that can continue to use race as a means of socialdiscipline and control.Indeed, in their respective narratives Pinky andLost Boundaries suggest that even for protagonists who are phenotypi-cally white (a fact hammered home through the use of white actors),this type of racial transcendence remains elusive.The only acceptablemodes of passing that is, those that are not seen as fundamentallyopposed to the national interest are those that remain firmly circum-scribedby the line of the one-droprule.My analysis of how Pinky and Lost Boundaries both construct andresolve the narrative of racial passing is thus motivated by a desire to in-terrogate the racial narratives of liberalism itself, particularly that dis-course of Negro rights that is both a product and a legacy of the post-war era.How, I ask, do Pinky and Lost Boundaries imagine the agency oftitle characters seemingly caught between competing demands of race loyalty, familial responsibility, sexual desire (especially in the case ofPinky), and social, professional, and economic ambition? How do thefilms negotiate the representation of the protagonists racial definitionwithin the context of a liberal political narrative of race, one whose co-gency depends on its ability to establish color blindness as a principleand prerequisite of American democracy? How does liberalism see race, and what are the stakes of its vision for our understanding of race spower? 88 Crossing the LineSENDING A MESSAGE From a contemporary viewpoint, it is tempting to categorize these 1949passing movies as period pieces that have the look, as cultural criticLisa Jones has suggested, of fabulously tormented B-movies without11their camp sensibilities.Yet to relegate Pinky and Lost Boundaries tothe status of quaint Hollywood anachronisms would amount to dismiss-ing them for precisely those qualities that made them progressive intheir own time.More crucially, it would mean potentially missing theways in which these films respective representations of crossing theline express underlying contradictions within postwar liberal politicaldiscourses of the Negro problem as well as the ruptures within con-ventional cinematic practices of representing collective forms of socialoppression through narratives that focus on the lives of exceptional indi-viduals.Rather than read Pinky and Lost Boundaries exclusively throughthe lens of their filmmakers good intentions, therefore, we might in-stead interrogate how these intentions themselves shape the terms oftheir respective representations of racial passing.How did white U.S [ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl agnieszka90.opx.pl
.Filmed in a documentary style, using acast of mostly amateur actors from New Hampshire, Lost Boundaries alsodepicts the effects of the revelation of black heritage on the doctor s twochildren, who have grown up believing themselves to be white.The filmfocuses particular attention on their son Howard, who responds to hisparents disclosure by running away to Harlem to discover his roots. From Harlem, represented as primitive, bleak, and degenerate, Howardeventually returns via a kind black police officer to New Hampshire,where he and the family are reunited and, ultimately, absolved for havingcommitted a racial transgression.As these brief synopses suggest, in both Pinky and Lost Boundaries thecinematic representation of racial passing is structured by the notion(ultimately related to national ideologies of the American Dream) thatclass and social mobility may be sources of racial transcendence for theirjuridically black protagonists.In these films, the first by white U.S.film-makers to centralize the experiences of characters who pass for white,the narrative of racial passing, previously associated in Hollywood cin-ema with the sexualized threat of invisible darkness to white racialpurity, is paradoxically retooled as a means of depicting the social andeconomic rewards of American citizenship for a national audience.I sayparadoxically, because although Pinky and Lost Boundaries are eager toadvance the notion of a United States in which industry and talent arethe keys to middle-class success for all citizens, regardless of racial iden-tity, they do so in a context that insists on the fundamental stability ofthe black/white binary.Both films construct narratives in which juridi-cally black protagonists are disciplined for attempting to cross the line asa means of realizing social, economic, or professional ambitions a nar-rative outcome that was, in any case, already predetermined by the in-famous Hays and Breen offices, which threatened to censor any U.S.film10that gave the appearance of tolerating so-called racial miscegenation.At the same time, given their explicit commitment to popularizing a lib- Passing and Cinematic Representation 87eral postwar civil rights agenda whose goals included racial integrationand the expansion of black citizenship rights, Pinky and Lost Boundariesare at pains to present their protagonists with alternative ways of enter-ing (or remaining within) the ranks of the growing postwar middle class.In effect, the films enable their protagonists to realize their American dreams of professional success while also insisting that they remain intheir places, racially speaking.The conclusions I draw from my analysis of Pinky and Lost Boundariessupport this study s larger contention that the national narrative of classmobility as the opportunity of every deserving citizen is tied in complexways to the stability of race as a means of collective social organization.According to this argument, the economic and professional successes ofthe protagonists in these films signal not so much their transcendenceof racial discrimination and segregation (that is, the transcendence thatis the promise of passing) as their incorporation into an occupationaland reward hierarchy that can continue to use race as a means of socialdiscipline and control.Indeed, in their respective narratives Pinky andLost Boundaries suggest that even for protagonists who are phenotypi-cally white (a fact hammered home through the use of white actors),this type of racial transcendence remains elusive.The only acceptablemodes of passing that is, those that are not seen as fundamentallyopposed to the national interest are those that remain firmly circum-scribedby the line of the one-droprule.My analysis of how Pinky and Lost Boundaries both construct andresolve the narrative of racial passing is thus motivated by a desire to in-terrogate the racial narratives of liberalism itself, particularly that dis-course of Negro rights that is both a product and a legacy of the post-war era.How, I ask, do Pinky and Lost Boundaries imagine the agency oftitle characters seemingly caught between competing demands of race loyalty, familial responsibility, sexual desire (especially in the case ofPinky), and social, professional, and economic ambition? How do thefilms negotiate the representation of the protagonists racial definitionwithin the context of a liberal political narrative of race, one whose co-gency depends on its ability to establish color blindness as a principleand prerequisite of American democracy? How does liberalism see race, and what are the stakes of its vision for our understanding of race spower? 88 Crossing the LineSENDING A MESSAGE From a contemporary viewpoint, it is tempting to categorize these 1949passing movies as period pieces that have the look, as cultural criticLisa Jones has suggested, of fabulously tormented B-movies without11their camp sensibilities.Yet to relegate Pinky and Lost Boundaries tothe status of quaint Hollywood anachronisms would amount to dismiss-ing them for precisely those qualities that made them progressive intheir own time.More crucially, it would mean potentially missing theways in which these films respective representations of crossing theline express underlying contradictions within postwar liberal politicaldiscourses of the Negro problem as well as the ruptures within con-ventional cinematic practices of representing collective forms of socialoppression through narratives that focus on the lives of exceptional indi-viduals.Rather than read Pinky and Lost Boundaries exclusively throughthe lens of their filmmakers good intentions, therefore, we might in-stead interrogate how these intentions themselves shape the terms oftheir respective representations of racial passing.How did white U.S [ Pobierz całość w formacie PDF ]