This collection of essays examines intersectional identities of race/ethnicity, gender/sexuality, class, and nationality in Hollywood cinema. Intersectionality, traditionally associated with social activism, is used here more liberally as a critical and analytic tool to explore films, expressing multiple points of views and multiple ways of looking at films.
This collection of essays examines intersectional identities of race/ethnicity, gender/sexuality, class, and nationality in Hollywood cinema. Intersectionality, traditionally associated with social activism, is used here more liberally as a critical and analytic tool to explore films, expressing multiple points of views and multiple ways of looking at films.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
DELIA MALIA CAPAROSO KONZETT is a professor of English, cinema, and women’s studies at the University of New Hampshire in Durham. She is the author of Ethnic Modernisms and Hollywood’s Hawaii: Race, Nation, and War. She has published in numerous critical journals on film, focusing on race, imperialism, and aesthetics. Her present work discusses race in Hollywood and its representation in mass culture.
Inhaltsangabe
Introduction
Hollywood Formulas: Codes, Masks, Genre, and Minstrelsy
Daydreams of Society: Class and Gender Performances in the Cinema of the Late 1910s Ruth Mayer The Death of Lon Chaney: Masculinity, Race, and the Authenticity of Disguise Alice Maurice MGM’s Sleeping Lion: Hollywood Regulation of the Washingtonian Slave in The Gorgeous Hussy (1936) Ellen C. Scott Yellowface, Minstrelsy, and Hollywood Happy Endings: The Black Camel (1931), Charlie Chan in Egypt (1935), and Charlie Chan at the Olympics (1937) Delia Malia Konzett Genre and Race in Classical Hollywood “A Queer, Strangled Look”: Race, Gender, and Morality in The Ox-Bow Incident Jonna Eagle By Herself: Intersectionality, African American Specialty Performers, and Eleanor Powell Ryan Jay Friedman Disruptive Mother-Daughter Relationships: Peola’s Racial Masquerade in Imitation of Life (1934) and Stella’s Class Masquerade in Stella Dallas (1937) Charlene Regester
The Egotistical Sublime: Film Noir and Whiteness Matthias Konzett Race and Ethnicity in Post-World War II Hollywood
Women and Class Mobility in Classical Hollywood’s Immigrant Dramas Chris Cagle Orientalism, Diaspora, and Indigeneity in Go for Broke! (1951) Dean Itsuji Saranillio Savage Whiteness: The dialectic of racial desire in The Young Savages (1961) Graham Cassano Rita Moreno’s Hair Priscilla Peña Ovalle Intersectionality, Hollywood, and Contemporary Popular Culture “Everything Glee in ‘America’”: Context, Race, and Identity Politics in the Glee Appropriation of West Side Story Ernesto R. Acevedo-Muñoz Hip Hop “Hearts” Ballet: Utopic Multiculturalism and the Step Up Dance Films Mary Beltrán Fakin da Funk (1997) and Gook (2017): Exploring Black/Asian Relations in the Asian American Hood Film Jun Okada “Let Us Roam the Night Together”: On Articulation and Representation in Moonlight (2016) and Tongues Untied (1989) Louise Wallenberg
Acknowledgments Selected Bibliography Contributors Index
Hollywood Formulas: Codes, Masks, Genre, and Minstrelsy
Daydreams of Society: Class and Gender Performances in the Cinema of the Late 1910s Ruth Mayer The Death of Lon Chaney: Masculinity, Race, and the Authenticity of Disguise Alice Maurice MGM’s Sleeping Lion: Hollywood Regulation of the Washingtonian Slave in The Gorgeous Hussy (1936) Ellen C. Scott Yellowface, Minstrelsy, and Hollywood Happy Endings: The Black Camel (1931), Charlie Chan in Egypt (1935), and Charlie Chan at the Olympics (1937) Delia Malia Konzett Genre and Race in Classical Hollywood “A Queer, Strangled Look”: Race, Gender, and Morality in The Ox-Bow Incident Jonna Eagle By Herself: Intersectionality, African American Specialty Performers, and Eleanor Powell Ryan Jay Friedman Disruptive Mother-Daughter Relationships: Peola’s Racial Masquerade in Imitation of Life (1934) and Stella’s Class Masquerade in Stella Dallas (1937) Charlene Regester
The Egotistical Sublime: Film Noir and Whiteness Matthias Konzett Race and Ethnicity in Post-World War II Hollywood
Women and Class Mobility in Classical Hollywood’s Immigrant Dramas Chris Cagle Orientalism, Diaspora, and Indigeneity in Go for Broke! (1951) Dean Itsuji Saranillio Savage Whiteness: The dialectic of racial desire in The Young Savages (1961) Graham Cassano Rita Moreno’s Hair Priscilla Peña Ovalle Intersectionality, Hollywood, and Contemporary Popular Culture “Everything Glee in ‘America’”: Context, Race, and Identity Politics in the Glee Appropriation of West Side Story Ernesto R. Acevedo-Muñoz Hip Hop “Hearts” Ballet: Utopic Multiculturalism and the Step Up Dance Films Mary Beltrán Fakin da Funk (1997) and Gook (2017): Exploring Black/Asian Relations in the Asian American Hood Film Jun Okada “Let Us Roam the Night Together”: On Articulation and Representation in Moonlight (2016) and Tongues Untied (1989) Louise Wallenberg
Acknowledgments Selected Bibliography Contributors Index
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