Katz notes that masculinity is the privileged gender like white is the privileged race so the hegemonic constructs due to these categories normalizes white male violence in mainstream advertising and mass media. Masculinity identity validation is seen throughout media today by stressing this idea of what is masculine by creating this opposition femininity. The man as a natural violent being has been inserted in many advertising to appeal to the public as what is masculine by either using these iconic roles to insert masculinity or taking on this aggressive, built figure to exploit men of who they should be. The article names some advertisements that try to assert this masculinity through what is technically viewed as an archetype for is masculine like sports. The manly men are used throughout history and have been seen in such figure such as Vikings, Cowboys, Trojan Warriors, and Gladiators.
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The elephant in the room in discussions about the alleged crimes and misdemeanors of Hollywood film producer Harvey Weinstein looks eerily similar to an elephant of the past.
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The elephant in the room in discussions about the alleged crimes and misdemeanors of Hollywood film producer Harvey Weinstein looks eerily similar to an elephant of the past. It is the Race elephant. And among the allegations, the question of race is one that we are not really looking to engage with, because it is knotty and gnarly.
But it bears talking about, because there are black women in Hollywood, and not talking about it does us all a disservice. In , he was in line to direct the Miramax-produced crime drama B. Monkey , and his first choice for the lead was black British actor Sophie Okonedo.
After Caton-Jones was unceremoniously fired from the film following the conversation, Variety called him for a statement. In the end, Asia Argento, an Italian actor, got the role, and last week she was among the many women who publicly accused Weinstein of assaulting them.
Their fuckability was the currency he wanted, regardless of their consent. That is to say, power needs to skew — sharply or even slightly — in one direction: the direction of the perpetrator. Well, the power imbalance is easy to see. A good number of us grasp that this dangerous use of leverage is the first prerequisite in this fucked-up power equation.
First of all, it is important to say that black women are victims every day of sexual harassment and assault in the workplace and beyond, same as any other ethnic demographic. But the narrative coming out of Hollywood right now is about the victims who have come forward with allegations specifically against Harvey Weinstein, and that list is largely made up of white women.
This is worth remarking upon, not because it is odd, but because it is decidedly quotidian, considering who is permitted to be in the room at even the lowest levels of the industry.
You can be black, white, asian, hispanic, mid eastern, or mixed race too. Medium to dark skin tone. Character types. And this gruesome, growing story of decades-long abuse helps us to contextualize that power by identifying the people who abuse it as well as its trickle-down effect.
A female executive who was present and refused to bite her tongue was fired within the fortnight. Taking stock of the films produced and codistributed by both Miramax and The Weinstein Company over the last 20 years shows an industrywide trend: Few people in Hollywood are interested in telling stories about and starring black women. The story here is absolutely about the women who have found a level of fortitude to come forward and call out a long and odious story of abuse of power.
Sophie Okonedo did not have to be cornered in a hotel room by a powerful man, bearing down on her in nothing but a hotel bathrobe, lotion in hand. It is a horribly double-edged sword, and there are absolutely no winners. In an industry as white as Hollywood, the racially problematic "attraction question" is part of what reduces the shelf life of black actresses.
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This landmark collaboration between African American and white feminists goes to the heart of problems that have troubled feminist thinking for decades. They offer new ways of approaching African American texts and reframe our thinking about the contexts, discourses, and traditions of the American cultural landscape.
Calling for the racialization of whiteness and claiming that psychoanalytic theory should make room for competing discourses of spirituality and diasporic consciousness, these essays give shape to the many stubborn incompatibilities—as well as the transformative possibilities—between white feminist and African American cultural formations. Bringing into conversation a range of psychoanalytic, feminist, and African-derived spiritual perspectives, these essays enact an inclusive politics of reading.
Often explosive and always provocative, Female Subjects in Black and White models a new cross-racial feminism. Spillers Jean Walton Laura Wexler. Books Digital Products Journals. Disciplines Sociology Gender. Calling for the racialization of whiteness and claiming that psychoanalytic theory should make room for competing discourses of spirituality and diasporic consciousness, these essays give shape to the many stubborn incompatibilities--as well as the transformative possibilities--between white feminist and African American cultural formations.
Spillers, Jean Walton, and Laura Wexler. Wilson's Our Nig and the American Racial Dream Text," by Katherine Clay Bassard Reads Our Nig as an expose of White American culture's repressed relation to American Africanism and as an exploration of the particular challenges and possibilities of cultural production that exist for African Americans who inhabit the cultural shadows of slavery.
About the Book This landmark collaboration between African American and white feminists goes to the heart of problems that have troubled feminist thinking for decades. Questions concerning how race and ethnicity create and refract unconscious fantasy and self-construction must be at the forefront of contemporary psychoanalytic thinking. Chodorow, author of The Reproduction of Mothering "Bold. This collection of essays emphatically demonstrates that rhetorical meaning, constituted in the text and the world, evolves from mediations of the psychical and the material, the personal and the social.
The critical models displayed so forcefully here will not only influence psychoanalytic and feminist discourses but literary and cultural studies as well.