Black Buddies and White Heroes: Racial discourse in the action cinema

2012 ◽  
pp. 42-60
Author(s):  
Liana MacDonald ◽  
Adreanne Ormond

Racism in the Aotearoa New Zealand media is the subject of scholarly debate that examines how Māori (Indigenous Peoples of New Zealand) are broadcast in a negative and demeaning light. Literature demonstrates evolving understandings of how the industry places Pākehā (New Zealanders primarily of European descent) interests at the heart of broadcasting. We offer new insights by arguing that the media industry propagates a racial discourse of silencing that sustains widespread ignorance of the ways that Pākehā sensibilities mediate society. We draw attention to a silencing discourse through one televised story in 2018. On-screen interactions reproduce and safeguard a harmonious narrative of settler–Indigenous relations that support ignorance and denial of the structuring force of colonisation, and the Television Code of Broadcasting Practice upholds colour-blind perceptions of discrimination and injustice through liberal rhetoric. These processes ensure that the media industry is complicit in racism and the ongoing oppression of Indigenous peoples.


2021 ◽  
pp. 233264922110439
Author(s):  
David W. Everson

This article focuses on the cultural narratives underlying U.S. society’s racialized inequalities. Informed by settler colonial theory and Charles Tilly’s work on “durable inequality,” I outline a privilege narratives framework that centers the dual mechanisms of racial dispossession that construct white supremacy’s material foundations: (1) the exploitation of non-Indigenous bodies and (2) the opportunity hoarding of Indigenous resources. I argue that these complementary, yet divergent, mechanisms shape distinctive patterns in contemporary racial discourse. In contrast to color-blind racism’s ahistoric and spatially disembedded storylines, the hoarding of Indigenous resources requires narrations that historically legitimate the dominant culture’s territoriality. Thus, in comparison with other racialized groups, racial discourse surrounding Indigenous peoples remains rooted in the defense of the territorial foundations of white property. Empirical support for the theoretical framework is provided through a sample of purposive follow-up interviews of non-Indigenous bystanders with historical connections to the American Indian Movement’s (AIM) “Red Power” activism in the 1970s.


2008 ◽  
Vol 13 (3) ◽  
pp. 78-90 ◽  
Author(s):  
Andrew Pilkington

It is imperative that an appropriate balance is reached between three key principles: equality, diversity and social cohesion. In many countries across the world, however, there is a discernible move away from a concern for equality and diversity as the problem of order looms larger. I shall focus here on Britain in presenting my central thesis that there is a very real danger that a new nationalist discourse centred on community cohesion and integration is trouncing any duties on us to promote racial equality and respect cultural diversity. The paper comprises three sections. I shall firstly identify a radical hour when there was for the first time official recognition that institutional racism existed in British society and some urgency that this needed to be combated. I shall secondly highlight the fragility of such progressiveness and identify threats from the changing nature of racial discourse since 2001. Here, I shall highlight in particular how the prominence given to institutional racism, with the publication of the Macpherson report, was remarkably short lived and how multiculturalism has come under increasing attack, not least because of its purported threat to social cohesion. I shall finally offer some tentative proposals for a more positive way forward.


Author(s):  
Alanna Thain

Canadian animator Norman McLaren claims that “animation is not the art of drawings that move but the art of movements that are drawn; what happens between each frame is much more important than what exists on each frame; animation is therefore the art of manipulating the invisible interstices that lie between the frames.” That has remained the default definition of animation since he first proposed it. Between the frames lie the alchemical transformations of animation and live-action cinema that exceed the still, photographed images. McLaren’s emphasis on the in-between may explain why his work involves stop-motion animation and was so strongly influenced by dance. Through consideration of McLaren’s collaborations with dancers in Ballet Adagio and Pas de Deux, but especially the aberrant movement and nonhuman dance of his A Chairy Tale, McLaren’s ability to animate change itself links dance’s potential for animation and animation’s ability to bring to screendance new potentials of the body.


2001 ◽  
Vol 32 (2) ◽  
pp. 125-145 ◽  
Author(s):  
J. L. A. Garcia
Keyword(s):  

1999 ◽  
Vol 33 (3) ◽  
pp. 539
Author(s):  
Alessandro Portelli ◽  
Yoshinobu Hakutani

1970 ◽  
pp. 3
Author(s):  
Cathrine Baglo

During the 19th century, new practices emerge in the western represen- tation of cultural otherness. One of these – whose importance is often disregarded by Academia, was the practice of exhibition of living “natives” in zoological gardens, amusement parks and circuses. By seeing these exhibitions as ‘immutable mobiles’, I am trying to demonstrate how these became instrumental for the “success” of racial discourse, by contributing to moving facts around to make them take on an apparent universality. 


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