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Jouer la carte de la course : mélodrames en noir et blanc de l'oncle Tom à O.J....

by Williams, Linda | HC | Good

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Numéro de l'objet eBay :195403975408

Dernière mise à jour : avr. 26, 2024 09:17:10 HAEAfficher toutes les modificationsAfficher toutes les modifications

Caractéristiques de l'objet

État: Bon

Remarques du vendeur: “Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, ...

Binding: Hardcover

Weight: 1 lbs

Product Group: Book

IsTextBook: Yes

ISBN: 9780691058009

Subject Area: Social Science, Performing Arts

Publication Name: Playing the Race Card : Melodramas of Black and White from Uncle Tom to O. J. Simpson

Item Length: 9.2 in

Publisher: Princeton University Press

Subject: Popular Culture, Film / History & Criticism

Publication Year: 2001

Type: Textbook

Format: Hardcover

Language: English

Author: Linda Williams

Item Width: 6 in

Item Weight: 27.1 Oz

Number of Pages: 408 Pages

À propos de ce produit

Product Information

The black man suffering at the hands of whites, the white woman sexually threatened by the black man. Both images have long been burned into the American conscience through popular entertainment, and today they exert a powerful and disturbing influence on Americans' understanding of race. So argues Linda Williams in this boldly inquisitive book, where she probes the bitterly divisive racial sentiments aroused by such recent events as O. J. Simpson's criminal trial. Williams, the author of Hard Core , explores how these images took root, beginning with melodramatic theater, where suffering characters acquire virtue through victimization. The racial sympathies and hostilities that surfaced during the trial of the police in the beating of Rodney King and in the O. J. Simpson murder trial are grounded in the melodramatic forms of Uncle Tom's Cabin and The Birth of a Nation . Williams finds that Stowe's beaten black man and Griffith's endangered white woman appear repeatedly throughout popular entertainment, promoting interracial understanding at one moment, interracial hate at another. The black and white racial melodrama has galvanized emotions and fueled the importance of new media forms, such as serious, "integrated" musicals of stage and film, including The Jazz Singer and Show Boat . It also helped create a major event out of the movie Gone With the Wind , while enabling television to assume new moral purpose with the broadcast of Roots . Williams demonstrates how such developments converged to make the televised race trial a form of national entertainment. When prosecutor Christopher Darden accused Simpson's defense team of "playing the race card," which ultimately trumped his own team's gender card, he feared that the jury's sympathy for a targeted black man would be at the expense of the abused white wife. The jury's verdict, Williams concludes, was determined not so much by facts as by the cultural forces of racial melodrama long in the making. Revealing melodrama to be a key element in American culture, Williams argues that the race images it has promoted are deeply ingrained in our minds and that there can be no honest discussion about race until Americans recognize this predicament.

Product Identifiers

Publisher

Princeton University Press

ISBN-10

0691058008

ISBN-13

9780691058009

eBay Product ID (ePID)

1774439

Product Key Features

Author

Linda Williams

Publication Name

Playing the Race Card : Melodramas of Black and White from Uncle Tom to O. J. Simpson

Format

Hardcover

Language

English

Subject

Popular Culture, Film / History & Criticism

Publication Year

2001

Type

Textbook

Subject Area

Social Science, Performing Arts

Number of Pages

408 Pages

Dimensions

Item Length

9.2 in

Item Width

6 in

Item Weight

27.1 Oz

Additional Product Features

LCCN

00-058467

Lc Classification Number

E185.625.W523 2001

Reviews

Williams offers a fresh and insightful exploration of some of the roots of the American racial dilemma. . . . Well written and persuasively argued., In her intellectually rousing book, Playing the Race Card , Williams find the root of [melodramatic] characterizations throughout American popular culture. . . . Such images, she argues, continue to feed attitudes of racial empathy and enmity. . . . With its thought-provoking analysis and textbook scholarship, Playing the Race Card is a . . . passionately crafted book. But Williams greatest contribution may be liberating a discussion of race from the incendiary rhetoric and polemics that accompany such a discourse. She creates a new dialogue about how popular entertainment has fostered racial sympathy as well as mistrust, and how those images still shape us today. ---Renee Graham, The Boston Globe, But the real elegance is in her thinking. . . . [Williams's writing impresses] wherever melodrama lands, it brings the same set of concerns, an Playing the Race Card is at it protean best when it is tracing these from medium to medium. ---Lisa Kennedy, Village Voice, "In her intellectually rousing book, Playing the Race Card , Williams find the root of [melodramatic] characterizations throughout American popular culture. . . . Such images, she argues, continue to feed attitudes of racial empathy and enmity. . . . With its thought-provoking analysis and textbook scholarship, Playing the Race Card is a . . . passionately crafted book. But Williams greatest contribution may be liberating a discussion of race from the incendiary rhetoric and polemics that accompany such a discourse. She creates a new dialogue about how popular entertainment has fostered racial sympathy as well as mistrust, and how those images still shape us today."-- Renee Graham, The Boston Globe, "[Williams] dispenses with the cant and silliness that tangles much academic talk about racial matters. . . . Steeped in the details of text and context, she invites the reader to see familiar works in fresh ways. Williams's achievement is to recapture the complexity of our tangled racial history without sanitizing racism."-- Jonathan Rieder, New York Times Book Review, In her intellectually rousing book, Playing the Race Card , Williams find the root of [melodramatic] characterizations throughout American popular culture. . . . Such images, she argues, continue to feed attitudes of racial empathy and enmity. . . . With its thought-provoking analysis and textbook scholarship, Playing the Race Card is a . . . passionately crafted book. But Williams greatest contribution may be liberating a discussion of race from the incendiary rhetoric and polemics that accompany such a discourse. She creates a new dialogue about how popular entertainment has fostered racial sympathy as well as mistrust, and how those images still shape us today. -- Renee Graham, The Boston Globe, "A strikingly accessible book that makes a timely appearance, now that discussions about race and representation have developed a heightened immediacy. Elegantly written and meticulously researched, this book combines scholarly rigor with clarity and insight." --Valerie Smith, University of California, Los Angeles, For any honest discussion about race relations in America, [Williams] argues, we must first acknowledge the indeterminate influence of melodrama. Conscientiously researched . . . this insightful book is essential for academic libraries and students in film studies., "Williams makes the best theoretical case for descriptive representation for marginalized groups to achieve democratic equality. Her review of democratic theory is both exhaustive and masterful." ---Katherine Tate, Annals of the American Academy of Political and Social Sciences, "It seems like a long leap to make 'from Lillian Gish to . . . Leonardo Dicaprio and from Uncle Tom to Rodney King,' but in this dazzling, benchmark work . . . Williams does it with panache and enormous insight. . . . This is a vital contribution to American studies as well as film and race studies."-- Publishers Weekly (starred review), "Williams makes the best theoretical case for descriptive representation for marginalized groups to achieve democratic equality. Her review of democratic theory is both exhaustive and masterful." --Katherine Tate, Annals of the American Academy of Political and Social Sciences, It seems like a long leap to make 'from Lillian Gish to . . . Leonardo Dicaprio and from Uncle Tom to Rodney King,' but in this dazzling, benchmark work . . . Williams does it with panache and enormous insight. . . . This is a vital contribution to American studies as well as film and race studies., "[Williams] dispenses with the cant and silliness that tangles much academic talk about racial matters. . . . Steeped in the details of text and context, she invites the reader to see familiar works in fresh ways. Williams's achievement is to recapture the complexity of our tangled racial history without sanitizing racism." ---Jonathan Rieder, New York Times Book Review, "This book would be valuable just for its scholarly insights, sharp contextual readings, well-selected illustrations, and imaginative genealogy of melodramatic practices across various eras. What gives it special urgency is that by locating those moments when new media (print, film, TV, video) were shaping new ways of conceiving race, Williams creates a moving picture of racial melodrama in the United States that manages to connect the polemic of Uncle Tom's Cabin to the . . . televised O. J. Simpson murder trial"-- Kurt Eisen, American Literature, "Linda Williams's book is a beautifully written, meticulously researched, and conceptually lucid engagement with the genres of painful feeling that organize racial fantasy in the United States. It joins the works of Michael Rogin, Eric Lott, and Ann Douglas as a major statement about the founding conventions of representation and cross-racial encounter in the U.S. twentieth century." --Lauren Berlant, University of Chicago, A work that is extremely valuable to historians who wish to enhance the sophistication of their own thinking about teaching with film and other visual media. . . . I believe the author succeeds at what she sets out to do. In such a large, sweeping, and ambitious book as this, that is high praise indeed. ---Alecia P. Long, H-Net Reviews, "In her intellectually rousing book, Playing the Race Card , Williams find the root of [melodramatic] characterizations throughout American popular culture. . . . Such images, she argues, continue to feed attitudes of racial empathy and enmity. . . . With its thought-provoking analysis and textbook scholarship, Playing the Race Card is a . . . passionately crafted book. But Williams greatest contribution may be liberating a discussion of race from the incendiary rhetoric and polemics that accompany such a discourse. She creates a new dialogue about how popular entertainment has fostered racial sympathy as well as mistrust, and how those images still shape us today." ---Renee Graham, The Boston Globe, This book would be valuable just for its scholarly insights, sharp contextual readings, well-selected illustrations, and imaginative genealogy of melodramatic practices across various eras. What gives it special urgency is that by locating those moments when new media (print, film, TV, video) were shaping new ways of conceiving race, Williams creates a moving picture of racial melodrama in the United States that manages to connect the polemic of Uncle Tom's Cabin to the . . . televised O. J. Simpson murder trial ---Kurt Eisen, American Literature, Williams makes the best theoretical case for descriptive representation for marginalized groups to achieve democratic equality. Her review of democratic theory is both exhaustive and masterful. ---Katherine Tate, Annals of the American Academy of Political and Social Sciences, "In her intellectually rousing book, Playing the Race Card , Williams find the root of [melodramatic] characterizations throughout American popular culture. . . . Such images, she argues, continue to feed attitudes of racial empathy and enmity. . . . With its thought-provoking analysis and textbook scholarship, Playing the Race Card is a . . . passionately crafted book. But Williams greatest contribution may be liberating a discussion of race from the incendiary rhetoric and polemics that accompany such a discourse. She creates a new dialogue about how popular entertainment has fostered racial sympathy as well as mistrust, and how those images still shape us today." --Renee Graham, The Boston Globe, "A tour de force of cultural analysis. The subject of Playing the Race Card is at once urgent and entertaining. Linda Williams's book is poised to do for film studies what Toni Morrison and others have so famously done for American literature: to reveal the ghost in the machine, the role of 'race' in the making of American popular culture." --Susan Gillman, University of California, Santa Cruz, "A work that is extremely valuable to historians who wish to enhance the sophistication of their own thinking about teaching with film and other visual media. . . . I believe the author succeeds at what she sets out to do. In such a large, sweeping, and ambitious book as this, that is high praise indeed." ---Alecia P. Long, H-Net Reviews, "But the real elegance is in her thinking. . . . [Williams's writing impresses] wherever melodrama lands, it brings the same set of concerns, an Playing the Race Card is at it protean best when it is tracing these from medium to medium." --Lisa Kennedy, Village Voice, "Williams offers a fresh and insightful exploration of some of the roots of the American racial dilemma. . . . Well written and persuasively argued." -- Choice, " Playing the Race Card possesses all the boldness, high intelligence, and far-reaching revisionism one has come to expect from the author of the brilliant Hard Core and other path-breaking work in film studies. Linda Williams here insists on the general importance of the melodramatic mode to our understanding of the United States' ongoing racial predicament. Her arguments are extremely compelling, not least because she executes them with such thoroughgoing smartness and prodigious learning." --Eric Lott, University of Virginia, "A work that is extremely valuable to historians who wish to enhance the sophistication of their own thinking about teaching with film and other visual media. . . . I believe the author succeeds at what she sets out to do. In such a large, sweeping, and ambitious book as this, that is high praise indeed."-- Alecia P. Long, H-Net Reviews, [Williams] dispenses with the cant and silliness that tangles much academic talk about racial matters. . . . Steeped in the details of text and context, she invites the reader to see familiar works in fresh ways. Williams's achievement is to recapture the complexity of our tangled racial history without sanitizing racism. ---Jonathan Rieder, New York Times Book Review, "But the real elegance is in her thinking. . . . [Williams's writing impresses] wherever melodrama lands, it brings the same set of concerns, an Playing the Race Card is at it protean best when it is tracing these from medium to medium." ---Lisa Kennedy, Village Voice, "Williams offers a fresh and insightful exploration of some of the roots of the American racial dilemma. . . . Well written and persuasively argued."-- Choice, "This book would be valuable just for its scholarly insights, sharp contextual readings, well-selected illustrations, and imaginative genealogy of melodramatic practices across various eras. What gives it special urgency is that by locating those moments when new media (print, film, TV, video) were shaping new ways of conceiving race, Williams creates a moving picture of racial melodrama in the United States that manages to connect the polemic of Uncle Tom's Cabin to the . . . televised O. J. Simpson murder trial" ---Kurt Eisen, American Literature, Finalist for the Theatre Library Association Award for Outstanding Book in Recorded or Broadcast Performance, Broad and brilliant, a combination rare in serious books these days, Playing the Race Card argues persuasively that melodrama has profoundly affected American attitudes toward race over the last century and a half. . . . Williams's success is to spell out exactly how the melodramatic imagination of our popular culture shapes how we live and understand race in America and how these stories make as well as narrative history. ---Grace Elizabeth Hale, The Historian, "A work that is extremely valuable to historians who wish to enhance the sophistication of their own thinking about teaching with film and other visual media. . . . I believe the author succeeds at what she sets out to do. In such a large, sweeping, and ambitious book as this, that is high praise indeed." --Alecia P. Long, H-Net Reviews, "[Williams] dispenses with the cant and silliness that tangles much academic talk about racial matters. . . . Steeped in the details of text and context, she invites the reader to see familiar works in fresh ways. Williams's achievement is to recapture the complexity of our tangled racial history without sanitizing racism." --Jonathan Rieder, New York Times Book Review, "For any honest discussion about race relations in America, [Williams] argues, we must first acknowledge the indeterminate influence of melodrama. Conscientiously researched . . . this insightful book is essential for academic libraries and students in film studies." -- Library Journal, "It seems like a long leap to make 'from Lillian Gish to . . . Leonardo Dicaprio and from Uncle Tom to Rodney King,' but in this dazzling, benchmark work . . . Williams does it with panache and enormous insight. . . . This is a vital contribution to American studies as well as film and race studies." -- Publishers Weekly (starred review), "This book would be valuable just for its scholarly insights, sharp contextual readings, well-selected illustrations, and imaginative genealogy of melodramatic practices across various eras. What gives it special urgency is that by locating those moments when new media (print, film, TV, video) were shaping new ways of conceiving race, Williams creates a moving picture of racial melodrama in the United States that manages to connect the polemic of Uncle Toms Cabin to the . . . televised O. J. Simpson murder trial"-- Kurt Eisen, American Literature, "This book would be valuable just for its scholarly insights, sharp contextual readings, well-selected illustrations, and imaginative genealogy of melodramatic practices across various eras. What gives it special urgency is that by locating those moments when new media (print, film, TV, video) were shaping new ways of conceiving race, Williams creates a moving picture of racial melodrama in the United States that manages to connect the polemic of Uncle Tom's Cabin to the . . . televised O. J. Simpson murder trial" --Kurt Eisen, American Literature, "Broad and brilliant, a combination rare in serious books these days, Playing the Race Card argues persuasively that melodrama has profoundly affected American attitudes toward race over the last century and a half. . . . Williams's success is to spell out exactly how the melodramatic imagination of our popular culture shapes how we live and understand race in America and how these stories make as well as narrative history." --Grace Elizabeth Hale, The Historian, "For any honest discussion about race relations in America, [Williams] argues, we must first acknowledge the indeterminate influence of melodrama. Conscientiously researched . . . this insightful book is essential for academic libraries and students in film studies."-- Library Journal, "But the real elegance is in her thinking. . . . [Williams's writing impresses] wherever melodrama lands, it brings the same set of concerns, an Playing the Race Card is at it protean best when it is tracing these from medium to medium."-- Lisa Kennedy, Village Voice, "Broad and brilliant, a combination rare in serious books these days, Playing the Race Card argues persuasively that melodrama has profoundly affected American attitudes toward race over the last century and a half. . . . Williams's success is to spell out exactly how the melodramatic imagination of our popular culture shapes how we live and understand race in America and how these stories make as well as narrative history."-- Grace Elizabeth Hale, The Historian, "Williams makes the best theoretical case for descriptive representation for marginalized groups to achieve democratic equality. Her review of democratic theory is both exhaustive and masterful."-- Katherine Tate, Annals of the American Academy of Political and Social Sciences, "Broad and brilliant, a combination rare in serious books these days, Playing the Race Card argues persuasively that melodrama has profoundly affected American attitudes toward race over the last century and a half. . . . Williams's success is to spell out exactly how the melodramatic imagination of our popular culture shapes how we live and understand race in America and how these stories make as well as narrative history." ---Grace Elizabeth Hale, The Historian

Table of Content

Illustrations ix Preface xiii Acknowledgments xvii Introduction: Playing the Race Card 3 Chapter One: The American Melodramatic Mode 10 Chapter Two: ''A Wonderful, 'Leaping 'Fish'': Varieties of Uncle Tom 45 Chapter Three: Anti-Tom and The Birth of a Nation 96 Chapter Four: Posing as Black, Passing as White: The Melos of Black and White Melodrama in the Jazz Age 136 Chapter Five: Rewriting the Plantation Legend: Scarlett ''Totes a Weary Load'' 187 Chapter Six: Home Sweet Africa: Alex Haley's and TV's Roots 220 Chapter Seven: Trials of Black and White: California v. Powell and The People v. Orenthal James Simpson 252 Conclusion: Our Melodramatic Racial Fix 296 Notes 311 Bibliography 369 Index 385

2001

Target Audience

College Audience

Dewey Decimal

305.8

Dewey Edition

Illustrated

Yes

Description de l'objet du vendeur

Le vendeur assume l'entière responsabilité de cette annonce.

Numéro de l'objet eBay :195403975408

Dernière mise à jour : avr. 26, 2024 09:17:10 HAEAfficher toutes les modificationsAfficher toutes les modifications

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