White femininity, black masculinity, and imperial sex/romance tourism: Resisting ‘whitestream' feminism's single story

2021 ◽  
pp. 196-206
Author(s):  
Katerina Deliovsky
2006 ◽  
Vol 23 (4) ◽  
pp. 396-418 ◽  
Author(s):  
Jonathan Markovitz

This article argues that coverage of the Kobe Bryant rape case illuminated bitter divisions in American society, because the allegations against Bryant brought forth tensions involving conceptions of Black masculinity, White femininity, and the role of sport and celebrity in public life. The divisions laid bare by the Bryant case involve long histories of discursive contests waged by social movements and state actors over the meanings of categories of race and gender. I argue that these struggles have influenced public understandings of history; that contemporary understandings of race, gender, and crime are very much indebted to rhetorical battles fought long ago; and that invocations of collective memory can help to determine how various audiences make sense of public dramas unfolding in the mass media.


2014 ◽  
Vol 46 (2) ◽  
pp. 21-37 ◽  
Author(s):  
Margaret Morrison

Several films of 1935 catapulted tap dancers Bill “Bojangles” Robinson and Eleanor Powell to movie stardom. Robinson'sThe Littlest Rebeland Powell'sBroadway Melody of 1936utilize a cinematic formula that intercuts the virtuosic footwork of the tap artists with giant close-ups of their toothy grins. The experience for contemporary spectators can be unnerving, as magnified lips, teeth, and eyes dominate the screen and interrupt the pleasure of watching expert tap. While the close-up smile and the choreography of the camera helped the film industry reproduce the excitement of live performance, these dance scenes also mobilize constructions of black masculinity and white femininity, through editing techniques that create multilayered narratives of power, intimacy, and submission. Robinson's close-up can be read as a depiction of racial subservience, as audiences are confronted with the smiling minstrel mask and the perpetuation of the legacy of minstrelsy in Hollywood. Powell's smile in close-up emphasizes her feminine sexual availability and evokes the voyeuristic camera shots of beaming, passive showgirls. The interplay in these two movies between the extremes of the tap dancer's body, the smile and feet, offers an opportunity to examine tap virtuosity within Hollywood's rigid system of racial and gender stereotypes.


Author(s):  
Elyse Marrero

Viral videos of American Sign Language (ASL) hip hop interpreters at music festivals have circulated the online mediascape, bringing attention to music interpreting, ASL, and Deaf culture. Hip hop interpreters create intersectional embodied texts challenging our assumed ideas of hip hop, Black masculinity, white femininity, and the connections between ASL, music, and Deaf people. Many hip hop interpreters are white women, which creates an interesting dynamic between interpreter and musical artist, specifically how both parties intersect and meet through their own expressions of hip hop music and culture. Using the concept of dialogical performance, this chapter provides textual analyses of a televised “sign language rap battle” and ASL interpretations of Kendrick Lamar’s “Swimming Pools” and Wiz Khalifa’s “Black and Yellow.” An interpreter’s presence, and how she adds news layers of meaning to a song and to her identity in relation to a song and performance, is explored in each presented scenario.


Sign in / Sign up

Export Citation Format

Share Document