Frantz Fanon: Black Skin, White Mask. Produced by Mark Nash for the Arts Council of England; directed by Isaac Julien; written by Isaac Julien and Mark Nash. 1995; color and black and white; 50 minutes. UK. Distributor: California Newsreel

2000 ◽  
Keyword(s):  
Frantz Fanon ◽  
Black And White ◽  
The Arts ◽  
Black Skin

scholarly journals Frantz Fanon y la Enajenación del Negro y del Blanco en el Sistema Colonial

2016 ◽  
Vol 10 (2) ◽  
pp. 20
Author(s):  
Ana Catarina Zema De Resende
Keyword(s):  
Racial Identity ◽  
Frantz Fanon ◽  
Black And White ◽  
Economic Exploitation ◽  
Black Skin ◽  
El Sistema ◽  
The Impact ◽  
The Relationship

ResumenA partir de la lectura de Piel negra, máscaras blancas, propongo en este artículo reflexionar sobre las ideas de Frantz Fanon a cerca de la enajenación del negro y del blanco en el sistema colonial. El objetivo es recuperar algunos de los principales aportes de Fanon para la comprensión del racismo colonial desde su teoría de la enajenación. Fanon presenta la enajenación como un paso previo a la esclavitud y al colonialismo, necesario para el mantenimiento de la explotación económica y analiza las conductas identitarias de "vergüenza de sí" como el resultado de la dominación colonial. Él describe con precisión el impacto del racismo y del colonialismo y sus efectos destructivos mostrando cómo los mecanismos de enajenación determinan la relación entre el blanco y el negro y cómo se reproducen las jerarquías que rigen estas relaciones. Retomar el pensamiento de Fanon y reconocer la pertinencia y actualidad de sus contribuciones es esencial para poder reubicar la lucha contra todas las formas de dominación en la continuación de la lucha contra el colonialismo en una época en que la identidad racial y el racismo han más que probado su capacidad de persistir en el tiempo y el espacio.Palabras clave: Frantz Fanon; Enajenación; Racismo; Sistema Colonial.Frantz Fanon and the Alienation of Black and White in the Colonial SystemAbstractFrom the reading of Black Skin, White Masks, in this article I propose to reflect on Frantz Fanon's ideas about alienation of black and white in the colonial system. The goal is to recover some of his most important contributions to the understanding of colonial racism from his theory of alienation. Fanon presents alienation as a prior step to slavery and colonialism, necessary for the maintenance of economic exploitation and analyzes the identity conducts of self shame as a result of colonial domination. Fanon accurately describes the impact of racism and colonialism and its destructive effects showing how alienation mechanisms determine the relationship between black and white and reproduce hierarchies governing these relationships. Adressing the thought of Fanon and recognizing the relevance and contemporaneity of his contributions is essential to reallocate the fight against all forms of domination in the continuing fight against colonialism in a time in which racial identity and racism have than proved their ability to persist in time and space.Keywords: Frantz Fanon; Alienation; Racism; Colonial System.Frantz Fanon  e a Alienação do Negro e do Branco no Sistema ColonialResumoA partir da leitura de Pele negra, máscaras brancas, proponho neste artigo refletir sobre as ideias de Frantz Fanon acerca da alienação do negro e do branco no sistema colonial. O objetivo é recuperar alguns de seus aportes mais importantes para a compreensão do racismo colonial a partir de sua teoria da alienação. Fanon apresenta a alienação como uma etapa prévia à escravidão e ao colonialismo, necessária para a manutenção da exploração econômica e analisa as condutas identitárias de “vergonha de si” como resultado da dominação colonial. Ele descreve com precisão o impacto do racismo e do colonialismo e seus efeitos destrutivos mostrando como os mecanismos de alienação determinam as relações entre negros e brancos e reproduzem as hierarquias que regem essas relações. Retomar o pensamento de Fanon e reconhecer a relevância e atualidade de suas contribuições é fundamental para podermos realocar a luta contra todas as formas de dominação na continuidade da luta contra o colonialismo em uma época em que a identidade racial e o racismo mais que provaram sua capacidade de persistir no tempo e no espaço.Palavras-chave: Frantz Fanon; Alienação; Racismo; Sistema Colonial. 

“White Night”: Gentrification, Racial Exclusion, and Perceptions and Participation in the Arts

2011 ◽  
Vol 10 (3) ◽  
pp. 241-264 ◽  
Author(s):  
Samuel Shaw ◽  
Daniel Monroe Sullivan
Keyword(s):  
Arts Participation ◽  
Black And White ◽  
The Arts ◽  
Racial Exclusion ◽  
Symbolic Economy ◽  
Black Residents ◽  
Long Time ◽  
Depth Interviews

Art festivals are a feature of many urban districts undergoing gentrification; they help to catalyze change by drawing a set of consumers with particular cultural interests. This article examines whether the arts produce racial exclusions by examining long–term Black and White residents’ participation in and perceptions of the monthly Last Thursday Art Walks in Portland's gentrifying Alberta Arts District. We use surveys to measure arts participation and follow–up, in–depth interviews to understand whether long–time residents feel excluded by the arts, and if race is a factor. We find that Black residents participate less in Last Thursdays than White residents, and they often feel uncomfortable or unwelcome. We conclude that the arts–anchored symbolic economy results in racial exclusions that have little to do with differences in arts appreciation, but much to do with perceptions of people associated with the arts, and with residents’ abilities to use the arts to identify with neighborhood changes.

Texture as Substance: Reading Homi K. Bhabha Re-membering Frantz Fanon

PMLA ◽  
2017 ◽  
Vol 132 (1) ◽  
pp. 179-185
Author(s):  
Henry Schwarz
Keyword(s):  
The Self ◽  
Frantz Fanon ◽  
Self And Other ◽  
Multiple Viewpoints ◽  
Homi Bhabha ◽  
The Enlightenment ◽  
Black Skin ◽  
Stuart Hall ◽  
Strong Reading ◽  
Striking Contrast

[T]he idea of Man as his alienated image, not Self and Other but the “Otherness” of the self inscribed in the perverse palimpsest of colonial identity. (116)According to Isaac Julien, the director of Black Skin, White Mask, a film imagining the life of Frantz Fanon, Homi Bhabha is presented in a nonspeaking role as a colored, racialized “colonial subject” to lend “texture” to the cinematography (Interview). Unlike the eloquent postcolonial critics Stuart Hall and Françoise Vergès, who are interviewed extensively in the ilm, the mute Bhabha is a cipher, a visual trace of diference in the philosophical, cinematic, and audio montage that composes Julien's meditation on decolonization (Frantz Fanon [Director's cut]). In many ways, Julien's Fanon seems indebted to Bhabha's strong reading, against the grain of Fanon's oeuvre, in “Remembering Fanon: Self, Psyche and the Colonial Condition,” a foreword Bhabha wrote for a new British edition of Fanon's Black Skin, White Masks, published in 1986. Julien's Fanon is an interstitial igure, stitched together through multiple viewpoints and physically composed of cinematic elements juxtaposed in striking contrast to one another. He emerges from scraps of discourse cast of and reassembled, much as Bhabha's Fanon is captured in Fanon's ungrammatical utterance that betrays by ellipsis the nature of identity, which is that identity is “not”: “The Negro is not. Any more than the white man” (113). The revelation that the nature of identity is spatially split and temporally deferred-the deinition of Derridean diférance-is most truly represented in the colonial situation, where white mythologies of wholeness and authenticity are actualized as performances of power. When these mythologies are accompanied by paranoid fantasies of blackness that reveal the contradictory duplicity of white representations of the other-the simian Negro, the inscrutable Chinaman-this racial discrimination and its neurotic imagery reveal the nature of the white self and its pretense of universality: that the human is not whole and that the Enlightenment dream of self-presence is an illusion thrown up by the anxious exercise of mastery over those lesser humans, the Negroes.

scholarly journals A Community of Many Worlds

2005 ◽  
Vol 22 (4) ◽  
pp. 108-110
Author(s):  
Vincent F. Biondo III
Keyword(s):  
New York ◽  
Los Angeles ◽  
Arab Americans ◽  
Arab American ◽  
First Person ◽  
Columbia University ◽  
Many Worlds ◽  
Museum Exhibit ◽  
Black And White ◽  
The Arts

This edited collection complemented a March 2001 museum exhibit and isbased upon a February 2000 Columbia University conference and a threeyearFord Foundation-sponsored research project. It provides a generaloverview of the history and diversity of Arab Americans in New York Cityand is particularly strong in the area of the arts, featuring several chapters onliterature and music, including several first-person narratives. This two-partbook, which surveys both the historical and the contemporary scenes, isfurther enhanced by forty black-and-white photographs, including thirteenby Empire State College’s Mel Rosenthal.New York contains the third largest Arab-American community, afterDearborn (Michigan) and Los Angeles. In the first chapter, Alixa Naffexplains that the community was formed around 1895, when Christian missionaries in Syria encouraged Arab Christians near Mount Lebanon to workin New York for a couple of years to make money for their families. Syrianand Lebanese immigrants initially gathered at Washington Street in LowerManhattan and soon moved to Atlantic Avenue in the South Ferry portion ofBrooklyn. From 1899-1910, 56,909 Syrian immigrants arrived in New York.In the book’s first part, two historical chapters are followed by entrieson literature, music, photography, and first-person accounts. Philip Kayalpoints out that Arab-American is a cultural and ethnic – but not a religious– category, for most Arab Americans are Christian, not Muslim. JonathanFriedlander reveals that the first Arab-American immigrant, AntonioBishallany, visited from Lebanon in 1854 to gather evangelical teachings foruse back home. This four-page and six-photograph entry on representationsin historical archives could be expanded into a larger work ...

scholarly journals On Frantz Fanon: Key Concepts

2019 ◽  
Vol 22 (2) ◽  
Author(s):  
Sara Farhan
Keyword(s):  
Postcolonial Studies ◽  
Global South ◽  
Frantz Fanon ◽  
Political Actor ◽  
Counter Narratives ◽  
The Earth ◽  
Black Skin ◽  
Key Concepts ◽  
Common Parlance ◽  
The Common

Frantz Fanon (1925–1961) was a Martinique-born psychiatrist, theorist, philosopher, playwright, and a leading political actor and figure in the struggle for decolonization. Between the publication of his two best-known works, Black Skin, White Masks (Peau Noire, Masques Blancs), in 1952 and The Wretched of the Earth (Les Damnés de la Terre) in 1961, Fanon defended his medical thesis in Paris, was a resident psychiatrist at the Blida-Joinville Hospital in Algeria, and published several more books and numerous clinical and critical articles advancing counter-narratives on colonialism and colonial psychiatry in various medical and radical journals. In the following decades, his work would become canonical in postcolonial studies, and has shaped the common parlance of scholarship on the Global South. This vignette showcases Fanon’s contribution through an examination of his most prevalent scholarship and theories, and a brief summary of his influence on decolonization studies.

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