9780822347019 - Red, White & Black : Cinema and the Structure of U.S. Antagonisms di Frank B. Wilderson (30 risultati)

Condizione: very_good. Book is in very good condition and may include minimal underlining highlighting. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Paperback. Condizione: Good. Illustrated. Ships in a BOX from Central Missouri! May not include working access code. Will not include dust jacket. Has used sticker(s) and some writing or highlighting. UPS shipping for most packages, (Priority Mail for AK/HI/APO/PO Boxes).

Condizione: good. May show signs of wear, highlighting, writing, and previous use. This item may be a former library book with typical markings. No guarantee on products that contain supplements Your satisfaction is 100% guaranteed. Twenty-five year bookseller with shipments to over fifty million happy customers.

Condizione: As New. Unread book in perfect condition.

Soft cover. Condizione: Fine. Fine copy in softcover. Grey spine with red, white and black titles. 8vo.

Condizione: New.

Paperback. Condizione: New. Illustrated. Ships in a BOX from Central Missouri! UPS shipping for most packages, (Priority Mail for AK/HI/APO/PO Boxes).

Soft cover. Condizione: New. Still in shrink wrap. 408 pages. 9 x 6 in.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: New. Red, White and Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the "settler," "master," and "human"), the Red (the "savage" and "half-human"), and the Black (the "slave" and "non-human"). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster's Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films' non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

Condizione: good. May show signs of wear, highlighting, writing, and previous use. This item may be a former library book with typical markings. No guarantee on products that contain supplements Your satisfaction is 100% guaranteed. Twenty-five year bookseller with shipments to over fifty million happy customers.

Paperback. Condizione: new. Paperback. Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the "settler," "master," and "human"), the Red (the "savage" and "half-human"), and the Black (the "slave" and "non-human"). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster's Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films' non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound. A provocative theoretical critique of representations of race in socially engaged films made since the 1960s. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: new.

Condizione: New.

Condizione: New. pp. 408.

Paperback. Condizione: New.

Condizione: New. A provocative theoretical critique of representations of race in socially engaged films made since the 1960s. Num Pages: 408 pages, 22 b&w photographs. BIC Classification: 1KBB; APFA. Category: (P) Professional & Vocational. Dimension: 227 x 157 x 26. Weight in Grams: 582. . 2010. Paperback. . . . .

Condizione: New. In.

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: Brand New. 388 pages. 8.75x6.00x1.00 inches. In Stock.

Condizione: New. A provocative theoretical critique of representations of race in socially engaged films made since the 1960s. Num Pages: 408 pages, 22 b&w photographs. BIC Classification: 1KBB; APFA. Category: (P) Professional & Vocational. Dimension: 227 x 157 x 26. Weight in Grams: 582. . 2010. Paperback. . . . . Books ship from the US and Ireland.

Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.

Condizione: New. pp. 408 Index.

Paperback. Condizione: Brand New. 388 pages. 8.75x6.00x1.00 inches. In Stock.

Condizione: NEW.

Condizione: New. A provocative theoretical critique of representations of race in socially engaged films made since the 1960s.&Uumlber den AutorFrank B. Wilderson IIIInhaltsverzeichnisAcknowledgments ixIntroduction:.

Paperback. Condizione: new. Paperback. Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the "settler," "master," and "human"), the Red (the "savage" and "half-human"), and the Black (the "slave" and "non-human"). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster's Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films' non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound. A provocative theoretical critique of representations of race in socially engaged films made since the 1960s. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Taschenbuch. Condizione: Neu. Neuware - ''Red, White & Black' is unique, incisive, and thought-provoking. The analytic frameworks that Frank B. Wilderson III develops surpass the conventional paradigms for exploring theory, race, power, and film in U.S. culture.'--Joy James, editor of 'Warfare in the American Homeland: Policing and Prison in a Penal Democracy'.

Paperback. Condizione: New. Red, White and Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the "settler," "master," and "human"), the Red (the "savage" and "half-human"), and the Black (the "slave" and "non-human"). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster's Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films' non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

Taschenbuch. Condizione: Neu. Red, White & Black | Cinema and the Structure of U.S. Antagonisms | Frank B Wilderson | Taschenbuch | Einband - flex.(Paperback) | Englisch | 2010 | Duke University Press | EAN 9780822347019 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.