How the internet transformed television Before HBO's hit show Insecure, Issa Rae's comedy about being a nerdy black woman debuted as a YouTube web series The Misadventures of Awkward Black Girl, her response to the absence of diverse black characters on the small screen. Broad City, a feminist sitcom now on Comedy Central, originated as a web series on YouTube, developed directly out of funny women Ilana Glazer and Abbi Jacobson's real-life friendship. These unconventional stories took advantage of the freedom afforded outside the traditional television system: online. Open TV shows how we have left "the network era" far behind and entered the networked era, with the web opening up new possibilities for independent producers, entrepreneurs, and media audiences. Based on interviews with writers, producers, show-runners, and network executives, visits to festivals and award shows, and the experience of producing his own series, Aymar Jean Christian argues that the web brought innovation to television by opening up series development to new producers, fans, and sponsors that had previously been excluded. Online access to distribution provides creative freedom for indie producers, allows for more diverse storytelling from marginalized communities, and introduces new ways of releasing and awarding shows. Open TV is essential reading for anyone interested in the changing environment of television and how the internet can inspire alternatives to what's on TV tonight.
Written by scholars of various disciplines, the essays in this volume dig beneath the veneer of Hawai'i's myth as a melting pot paradise to uncover historical and complicated cross-racial dynamics. Race is not the primary paradigm through which Hawai'i is understood. Instead, ethnic difference is celebrated as a sign of multicultural globalism that designates Hawai'i as the crossroads of the Pacific. Racial inequality is disruptive to the tourist image of the islands. It ruptures the image of tolerance, diversity, and happiness upon which tourism, business, and so many other vested transnational interests in the islands are based. The contributors of this interdisciplinary volume reconsider Hawai'i as a model of ethnic and multiracial harmony through the lens of race in their analysis of historical events, group relations and individual experiences, and humor, among other focal points. Beyond Ethnicity examines the dynamics between race, ethnicity, and indigeneity to challenge the primacy of ethnicity and cultural practices for examining difference in Hawai'i while recognizing the significant role of settler colonialism. This original and thought-provoking volume reveals what a racial analysis illuminates about the current political configuration of the islands and, in doing so, challenges how we conceptualize race on the continent. Recognizing the ways that Native Hawaiians or Kānaka Maoli are impacted by shifting, violent, and hierarchical colonial structures that include racial inequalities, the editors and contributors explore questions of personhood and citizenship through language, land, labor, and embodiment. By admitting to these tensions and ambivalences, the editors set the pace and tempo of powerfully argued essays that engage with the various ways that Kānaka Maoli and the influx of differentially racialized settlers continue to shift the social, political, and cultural terrains of the Hawaiian Islands over time.
Originally published in 1942 and now reprinted for the first time, They Knew Lincoln is a classic in African American history and Lincoln studies. Part memoir and part history, the book is an account of John E. Washington's childhood among African Americans in Washington, DC, and of the blackpeople who knew or encountered Abraham and Mary Todd Lincoln. Washington recounted stories told by his grandmother's elderly friends - stories of escaping from slavery, meeting Lincoln in the capitol, learning of the president's assassination, and hearing ghosts at Ford's Theatre. He also mined the US government archives and researched little-known figures inLincoln's life, including William Johnson, who accompanied Lincoln from Springfield to Washington, and William Slade, the steward in Lincoln's White House. Washington was fascinated from childhood by the question of how much African Americans themselves had shaped Lincoln's views on slavery andrace, and he believed Lincoln's Haitian-born barber, William de Fleurville, was a crucial influence. Washington also extensively researched Elizabeth Keckly, the dressmaker to Mary Todd Lincoln, and advanced a new theory of who helped her write her controversial book, Behind the Scenes, or ThirtyYears a Slave, and Four Years in the White House (1868). Firm in his conviction that the history of Lincoln's presidency must include the history of African Americans, Washington sought advice and support from the white establishment and obtained an introduction to his book by writer Carl Sandburgand a preface by Lincoln scholar James G. Randall. A new introduction by Kate Masur places Washington's book in its own context, explaining the contents of They Knew Lincoln in light of not only the era of emancipation and the Civil War, but also Washington's own times, when the nation's capital was a place of great opportunity and creativity formembers of the African American elite. On publication, a reviewer noted that the "collection of Negro stories, memories, legends about Lincoln" seemed "to fill such an obvious gap in the material about Lincoln that one wonders why no one ever did it before." This edition brings it back to print fora twenty-first century readership that remains fascinated with Abraham Lincoln.
Longlisted for the 2018 National Book Award for Poetry "[Trethewey's poems] dig beneath the surface of history--personal or communal, from childhood or from a century ago--to explore the human struggles that we all face." --James H. Billington, 13th Librarian of Congress Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument, Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each section, each poem drawn from an "opus of classics both elegant and necessary,"* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson
The "Colored Hero" of Harper's Ferry: John Anthony Copeland and the war against slavery by Steven LubetOn the night of Sunday, October 16, 1859, hoping to bring about the eventual end of slavery, radical abolitionist John Brown launched an armed attack at Harpers Ferry, Virginia. Among his troops, there were only five black men, who have largely been treated as little more than 'spear carriers' by Brown's many biographers and other historians of the antebellum era. This book brings one such man, John Anthony Copeland, directly to center stage. Copeland played a leading role in the momentous Oberlin slave rescue, and he successfully escorted a fugitive to Canada, making him an ideal recruit for Brown's invasion of Virginia. He fought bravely at Harpers Ferry, only to be captured and charged with murder and treason. With his trademark lively prose and compelling narrative style, Steven Lubet paints a vivid portrait of this young black man who gave his life for freedom.
The Black Body in Ecstasy by Jennifer C. NashIn The Black Body in Ecstasy, Jennifer C. Nash rewrites black feminism's theory of representation. Her analysis moves beyond black feminism's preoccupation with injury and recovery to consider how racial fictions can create a space of agency and even pleasure for black female subjects. Nash's innovative readings of hardcore pornographic films from the 1970s and 1980s develop a new method of analyzing racialized pornography that focuses on black women's pleasures in blackness: delights in toying with and subverting blackness, moments of racialized excitement, deliberate enactments of hyperbolic blackness, and humorous performances of blackness that poke fun at the fantastical project of race. Drawing on feminist and queer theory, critical race theory, and media studies, Nash creates a new black feminist interpretative practice, one attentive to the messy contradictions--between delight and discomfort, between desire and degradation--at the heart of black pleasures.
Call Number: Main Library Stacks E909.O24 S58 2015
Publication Date: 2015
No Tea, No Shade by E. Patrick Johnson (Editor)The follow-up to the groundbreaking Black Queer Studies, the edited collection No Tea, No Shade brings together nineteen essays from the next generation of scholars, activists, and community leaders doing work on black gender and sexuality. Building on the foundations laid by the earlier volume, this collection's contributors speak new truths about the black queer experience while exemplifying the codification of black queer studies as a rigorous and important field of study. Topics include "raw" sex, pornography, the carceral state, gentrification, gender nonconformity, social media, the relationship between black feminist studies and black trans studies, the black queer experience throughout the black diaspora, and queer music, film, dance, and theater. The contributors both disprove naysayers who believed black queer studies to be a passing trend and respond to critiques of the field's early U.S. bias. Deferring to the past while pointing to the future, No Tea, No Shade pushes black queer studies in new and exciting directions. Contributors. Jafari S. Allen, Marlon M. Bailey, Zachary Shane Kalish Blair, La Marr Jurelle Bruce, Cathy J. Cohen, Jennifer DeClue, Treva Ellison, Lyndon K. Gill, Kai M. Green, Alexis Pauline Gumbs, Kwame Holmes, E. Patrick Johnson, Shaka McGlotten, Amber Jamilla Musser, Alison Reed, Ram#65533;n H. Rivera-Servera, Tanya Saunders, C. Riley Snorton, Kaila Story, Omise'eke Natasha Tinsley, Julia Roxanne Wallace, Kortney Ziegler
Call Number: Main Library Stacks (E185.625 .N59 2016)
Call Number: Main Library Stacks HT1136.Q58 B79 2014
Publication Date: 2014
The Schematic State: Race, Transnationalism, and the Politics of the Census by Debra ThompsonBy examining the political development of racial classifications on the national censuses of the United States, Canada, and Great Britain, The Schematic State maps the changing nature of the census from an instrument historically used to manage and control racial populations to its contemporary purpose as an important source of statistical information, employed to monitor and rectify racial discrimination. Through a careful comparative analysis of nearly two hundred years of census-taking, it demonstrates that changes in racial schemas are driven by the interactions among shifting transnational ideas about race, the ways they are tempered and translated by nationally distinct racial projects, and the configuration of political institutions involved in the design and execution of census policy. This book argues that states seek to make their populations racially legible, turning the fluid and politically contested substance of race into stable, identifiable categories to be used as the basis of law and policy.
Stealing the Show: African American Performers and Audiences in 1930s Hollywood by Miriam J. PettyStealing the Show is a study of African American actors in Hollywood during the 1930s, a decade that saw the consolidation of stardom as a potent cultural and industrial force. Petty focuses on five performers whose Hollywood film careers flourished during this period--Louise Beavers, Fredi Washington, Lincoln "Stepin Fetchit" Perry, Bill "Bojangles" Robinson, and Hattie McDaniel--to reveal the "problematic stardom" and the enduring, interdependent patterns of performance and spectatorship for performers and audiences of color. She maps how these actors--though regularly cast in stereotyped and marginalized roles--employed various strategies of cinematic and extracinematic performance to negotiate their complex positions in Hollywood and to ultimately "steal the show." Drawing on a variety of source materials, Petty explores these stars' reception among Black audiences and theorizes African American viewership in the early twentieth century. Her book is an important and welcome contribution to the literature on the movies.
Call Number: Main Library Stacks (PN1995.9.N4 P45 2016 )