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From the breakout author of There Are More Beautiful Things Than Beyoncé comes a profound and deceptively funny exploration of Black American womanhood. '2019 justly belongs to Morgan Parker. Her poems shred me with their intelligence, dark humor and black-hearted vision. Parker is one of this generation's best minds' Danez Smith, winner of the Forward Prize 'A riveting testimony to everyday blackness . . . It is wry and atmospheric, an epic work of aural pleasures and personifications that demands to be read - both as an account of a private life and as searing political protest' TIME Magazine Magical Negro is an archive of Black everydayness, a catalogue of contemporary folk heroes, an ethnography of ancestral grief, and an inventory of figureheads, idioms and customs. These poems are both elegy and jive, joke and declaration, songs of congregation and self-conception. They connect themes of loneliness, displacement, grief, ancestral trauma and objectification, while exploring tropes and stereotypes of Black Americans. Focused primarily on depictions of Black womanhood alongside personal narratives, the collection tackles interior and exterior politics - of both the body and society, of both the individual and the collective experience. In Magical Negro, Morgan Parker creates a space of witness, of airing grievances, of pointing out patterns. In these poems are living documents, pleas, latent traumas, inside jokes and unspoken anxieties situated as firmly in the past as in the present - timeless Black melancholies and triumphs.
The Magical Negro Reveals His Secret is, among other things, a quest for home and belonging. In this collection of poems, Gabriel Green haphazardly juggles the deeply rooted attachments and interests that, altogether, constitute an identity, while also struggling to discern what things are worth holding onto. Seldom caught without an opinion, Green uses wit, humor and deep introspection to question everything from politics, to music, Black culture and more.
Utilizing each chapter to present core topical and timely examples, Pop Culture Freaks highlights the tension between inclusion and individuality that lies beneath mass media and commercial culture, using this tension as a point of entry to an otherwise expansive topic. He systematically considers several dimensions of identity—race, class, gender, sexuality, disability—to provide a broad overview of the field that encompasses classical and contemporary theory, original data, topical and timely examples, and a strong pedagogical focus on methods. Pop Culture Freaks encourages students to develop further research questions and projects from the material. Both quantitative and qualitative analyses are brought to bear in Kidd's examination of the labor force for cultural production, the representations of identity in cultural objects, and the surprising differences in how various audiences consume and use mass culture in their everyday lives. This new, revised edition includes update examples and date to reflect a constantly changing pop culture landscape.
Why do race relations appear to be getting worse instead of better since the election and reelection of the country's first black president? David Ikard speaks directly to us, in the first person, as a professor and father and also as self-described working-class country boy from a small town in North Carolina, His lively account teems with anecdotes--from gritty to elegant, sometimes scary, sometimes funny, sometimes endearing--that show how parasitically white identity is bound up with black identity in America. Ikard thinks critically about the emotional tenacity, political utility, and bankability of willful white blindness in the 21st century. A key to his analytic reflections on race highlights the three tropes of white supremacy which help to perpetuate willful white blindness, tropes that remain alive and well today as cultural buffers which afford whites the luxury of ignoring their racial privilege and the cost that blacks incur as a result of them. The tropes are: lovable racists, magical negroes, and white messiahs. Ikard is definitely reformist: teachers, parents, students, professors can use such tropes to resist the social and psychological dangers presented by seemingly neutral terms and values which in fact wield white normative power. The lovable racist trope encourages whites to see racism as a minor character flaw (Ikard includes commentary on the "good" slaveowner, William Ford, in Twelve Years a Slave, and offers up examples of the veneer of lovability that attaches to xenophobic, racist presidential candidate Donald Trump). The white messiah trope serves to conflate whiteness with goodness, godliness, and other virtues (extended discussion of Santa Claus or Bill Clinton makes for fun reading, as does Ikard's teasing out of messiah patterns in movie scripts like The Green Mile and Avatar). The magical negro trope situates blacks as mascots or surrogates for affirmations of white humanity (Uncle Tom and Nigger Jim are just two examples, and President Obama employed the trope with subtlety in both of his campaigns). In general, this book investigates the tenacity and cultural capital of white redemption narratives in literature and popular media from Harriet Beecher Stowe's Uncle Tom's Cabin to Kathryn Stockett's best-selling book (and movie blockbuster), The Help.
Django Unchained is certainly Quentin Tarantino's most commercially-successful film and is arguably also his most controversial. Fellow director Spike Lee has denounced the representation of race and slavery in the film, while many African American writers have defended the white auteur. The use of extremely graphic violence in the film, even by Tarantino's standards, at a time when gun control is being hotly debated, has sparked further controversy and has led to angry outbursts by the director himself. Moreover, Django Unchained has become a popular culture phenomenon, with t-shirts, highly contentious action figures, posters, and strong DVD/BluRay sales. The topic (slavery and revenge), the setting (a few years before the Civil War), the intentionally provocative generic roots (Spaghetti Western and Blaxploitation) and the many intertexts and references (to German and French culture) demand a thorough examination. Befitting such a complex film, the essays collected here represent a diverse group of scholars who examine Django Unchained from many perspectives.
Over seventy-five films have been made based either on Stephen King narratives or screen/teleplay scripts that King himself authored-yet this body of work has received very little scholarly attention. The Films of Stephen King is the first collection of essays assembled on the cinematic adaptations of Stephen King. The individual chapters, written by cinema, television, and cultural studies scholars, examine the most important films from the King canon, from Carrie to The Shining to The Shawshank Redemption. Contributors focus on the most intriguing aspects of these movies: race, gender, and technology, and draw conclusions on their socio-political relevance.

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