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oapen-20.500.12657-895612024-04-09T02:24:55Z Passing and Posing between Black and White Gotto, Lisa Film Cinema Hollywood Race Ethnicity Media Culture Racism Cultural History America Media Studies thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCT Media studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies::JBSL1 Ethnic groups and multicultural studies thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTB Social and cultural history Since its inception, U.S. American cinema has grappled with the articulation of racial boundaries. This applies, in the first instance, to featuring mixed-race characters crossing the color line. In a broader sense, however, this also concerns viewing conditions and knowledge configurations. The fact that American film engages itself so extensively with the unbalanced relation between black and white is neither coincidental nor trivial to state — it has much more to do with disputing boundaries that pertain to the medium itself. Lisa Gotto examines this constellation along the early history of American film, the cinematic modernism of the late 1950s, and the post-classical cinema of the turn of the millennium. 2024-04-08T14:02:16Z 2024-04-08T14:02:16Z 2021 book ONIX_20240408_9783839453377_23 9783839453377 9783837653373 https://library.oapen.org/handle/20.500.12657/89561 eng Film application/pdf Attribution 4.0 International 9783839453377.pdf transcript Verlag transcript Verlag 10.14361/9783839453377 10.14361/9783839453377 b30a6210-768f-42e6-bb84-0e6306590b5c 4a1ea0f2-e46e-4025-bbc3-e853f4181d49 9783839453377 9783837653373 transcript Verlag 250 Bielefeld 101017536 Backlisttransformation EOSC Future H2020 Excellent Science H2020 Priority Excellent Science open access
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Since its inception, U.S. American cinema has grappled with the articulation of racial boundaries. This applies, in the first instance, to featuring mixed-race characters crossing the color line. In a broader sense, however, this also concerns viewing conditions and knowledge configurations. The fact that American film engages itself so extensively with the unbalanced relation between black and white is neither coincidental nor trivial to state — it has much more to do with disputing boundaries that pertain to the medium itself. Lisa Gotto examines this constellation along the early history of American film, the cinematic modernism of the late 1950s, and the post-classical cinema of the turn of the millennium.
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