Race, Space and the Law: Unmapping a White Settler Society

2003 ◽  
Vol 51 ◽  
pp. 299
Author(s):  
Tracey Lindberg ◽  
Sherene H. Razack
2013 ◽  
Vol 38 (4) ◽  
pp. 623-646 ◽  
Author(s):  
Kate Cairns

Abstract. Canada’s rural idyll is embedded within the colonial legacy of a white settler society; however, little research has examined how class and gender uphold this articulation of rurality and whiteness. This article draws on ethnographic research with white, working-class rural youth to develop an intersectional analysis of rural imaginaries. The analysis shows how youth construct their own rural identities through racialized representations of urban and global “others.” I argue that these racist place-narratives must be understood in the context of competing discourses of rurality in Canada: the romanticized pure white rural of colonial history, and the pathologized poor white rural of a cosmopolitan future. Even as youth locate their gendered performances within the rural idyll, they are marked as “dirts” by their classed, rural status. By inscribing racist discourses onto others, youth resist the classist imagery projected onto their community and thereby re- claim a pure white rural idyll.


2016 ◽  
Vol 17 (1) ◽  
pp. 50-59
Author(s):  
Beenash Jafri

This article develops a method for analyzing Indigenous erasure in popular film that focuses not on the representations (or lack thereof) of Indigenous peoples but on representations of settlement. Whereas much of the scholarship on Native representations in film has been concerned with Hollywood’s promulgation of the “mythical Indian,” I argue that a focus on settlement—rather than on bodies—is significant in the context of the ongoing, unfinished processes of colonialism, which continue to structure life in white settler states. Cultural representations that reconfigure colonial-occupied life as settled life naturalize settler colonialism while erasing and displacing Indigenous claims to land. I illuminate this method by analyzing how the 1974 “blaxploitation Western” Thomasine and Bushrod imagines settlement. The film features a pair of lovers who are on the run from the law in America’s Southwest from 1911 to 1915. Because it is a film that speaks back to historical constructions of Blackness and Indigeneity, Thomasine and Bushrod productively illuminates how representations of Indigenous erasure work in often ambiguous and contradictory ways.


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