Week 11 Readings Race and Spectatorship
Alright so I’m just going to talk about “Negroes Laughing at Themselves? Black Spectatorship and the Performances of Urban Modernity.” Because I really enjoyed reading it.
So the reason I enjoyed it was because it captured the levels and fluidity in which groups of people operate. In this essay the distinction does not operate as simply black and white but with other forms of outsidership including behavior, migration status, and class. And it also describes how these ‘differences’ work in different spaces. It’s probably true that the migrants who came to Chicago were less different in Black only spaces from other Black Chicago residents but were outsiders in mixed spaces because of their lack of self censorship.
There are two things I would like to add about Black Spectatorship within the context of this essay.
1. Stewart leaves out the possibility of identifying with characters which share other struggles with the audience. I.E. a white character who is an outsider who reminds them of their inability to be overtly visible in mixed spaces. Or maybe other minorities who fight a system of stereotyping.
*Could Black audiences identify with representations of ‘the new woman’ who fights stereotypical assumptions of her femininity?
2. The admiration of Black character’s who despite their negative roles are admired for the ability to act and live in a white run workforce.
3. Stewart says the Black audience’s liked Noble M. Johnson, regardless of his roles as other races. I think the black audiences would love him BECAUSE of this. In this article it expresses the anxiety between wanting to be in a space and being bodily aware one could not inhabit it. Nobel may have allowed Black Audiences the ability to put themselves in other spaces because his black body fits in them. (I don’t think this was well said but I may try to put it better in class)
*I also really enjoyed her notion or ‘reconstructive strategies.’ See you guys tomorrow!
March 20th, 2008 at 12:49 am
The problem I am having with the readings in this class- aside from finishing them all (!)- is what to focus on for a discussion. I never seem to be on the same page as my classmates, I guess because I am pulling out things that interest me from other areas of my studies.
In any case, I would like to say that I enjoy areas of theorizing spectatorship as a way of studying film. This approach takes into account the “nuanced” (as one of the author said) ways in which individuals within a community that is not homogenized (ie. history tends to lump ‘women’, ‘black’, ‘gay’ into one solitary group without accounting for internal differences within the community) form a dialectic with film. This way of approaching film studies also takes into account the “nuanced” ways that a spectator negotiates what is up on screen. The first two articles seem to highlight the complexity and tensions of a spectator and also an artist- where others have failed to do so. People can appropriate- for enjoyment or political discourse- something that is otherwise deemed oppressive…whether it be mass culture or ‘Griffith’s’ editing techniques.
The spectators in the first article used mass culture in the creation of their own identity.Is this an idealized assessment of what was actually happening? I’m not sure. However, something that bothers me within some foundational feminist film writings, for example, is women seem to have no autonomy in their negotiation with the screen. That does not mean that there is not on some level an overall white hetero patriarch that dominates mass culture, and that it is not consistent if not utterly dominating position that we “others” have to contend with. However, I still like to think that I have the ability to not be conditioned by normalizing strategies and that in fact mass culture can be used by me when I do not have another option.
The world would be a better place if ‘mass culture’, which arguably and invariably supports a capitalist ideal, was not the defining cultural aspect of modernity but until then it is nice to see examples of people using it in different way from what was its intended use.
I may be being naive in my assessment.
I look forward to discussing this further.
March 20th, 2008 at 9:23 am
In response to what Nadia wrote about nuanced communities forming a relationship with film, I too was glad to read about the strict theoretical dichotomy being replaced with a dialectic association. I’ve read too many articles that get caught up in the “we vs. they” and “it’s good for us vs. it’s bad for us”.
That being said, I’m not totally clear on how theorists know when mainstream film is appropriated by an “other” group. I believe that when a film is made, the financial pressures (there’s that capitalistic influence again) encourage the filmmakers to make something that will appeal to the widest audience possible. True, mainstream film comes from an oppressive system, but it doesn’t and can’t (as well as morally shouldn’t) purposefully try to be exclusionary.
Therefore, how can you tell why someone in the audience who isn’t a straight white male identifies with a straight white male protagonist? Is it a political statement, appropriation, cultural backlash, or just a case of a normal person watching a movie from the culture they’re most familiar with?
March 23rd, 2008 at 6:26 pm
these readings left me with so many ideas to think about so here’s my attempt to condense them… The influence of DuBois “double consciousness” brings to question how do African Americans experience their own bodies (or desire, identity and identification) in a racially restricted world. Gerstner suggests that the body can be a site for memory and history, which for me means that experience is specific to individuals or maybe a collective group that shares culture, location or history or whatever… Although being able to understand or relate to different people/representations is important in film identification and perhaps life in general, the specificity of experience is something that may not need to be made universal as in how commercial films homogenize perspectives and narratives to make the films easy to relate to. ie. a specific struggle simplified so that it becomes an experience easily understood or overcome by an individual narrative. These readings suggest that identification and experience may work in a way counter to how we understand First cinema. therefore films that offer a certain plurality of ideas, a complexity to identification, open endedness, etc. may reflect another way of looking at and experiencing the world.
April 18th, 2008 at 7:18 am
During the discussion in class the issue of the “happy slave” came up and I was particularly interested in the reactions that arose from some of the class members. Some people seemed to think that finding pleasure in the small or even insignificant freedoms that black people had or have is something of a cop-out. Finding pleasure in these things is a way of deluding oneself form the realities of one’s oppression. Some people on the other hand felt that it was somehow necessary for oppressed people to find pleasure in the small things. an example being the way certain black people took pleasure in provoking reactions from white people on buses by sitting next to them, just because they could. I tend to fall in the latter camp. I believe that everyone must find pleasure in these sorts of circumstances wherever one can find it. Otherwise what is the point of living. One might as well commit suicide. Whether those small things fall under the umbrella of provocation, like on the bus, music, dancing, religion, one must find something to live for somewhere. Without such simple pleasures life would be empty.
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