Black “Crime,” Public Hysteria, and the Cinema of Containment: Black Cinema Aesthetics from Willie Dynamite to The Interrupters and a/k/a Mrs. George Gilbert

A. Ongiri
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Abstract

This essay will explore the ways in which African American visual culture has attempted to negotiate criminalization and the current situation of what Richard Iton rightfully characterizes as “hyperincarceration.” It will explore the ways in which contemporary African American visual culture is engaged in negotiating between the literal material realities and consequences of mass incarceration and aesthetic constructions of violence. While mass incarceration is increasingly becoming understood as “the New Jim Crow” for African American political organizing, Black criminality has become the key lens through which questions of masculinity, class exclusion, gender, and selfhood get negotiated in African American visual culture. This essay will argue that the “subtext of ongoing Black captivity” is the pretext for much of what drives Black action genres and African American representation in general as a key signifier of a racialized identity and as an indicator of a Black subjectivity fraught with complexities of non-belonging.
黑人“犯罪”,公众歇斯底里和遏制电影:从威利炸药到中断者和乔治吉尔伯特夫人的黑人电影美学
这篇文章将探讨非裔美国人的视觉文化是如何试图与犯罪化进行谈判的,以及理查德·伊顿正确地描述为“过度监禁”的现状。它将探讨当代非裔美国人的视觉文化是如何在文字的物质现实和大规模监禁的后果以及暴力的美学建构之间进行谈判的。当大规模监禁越来越多地被理解为非裔美国人政治组织的“新吉姆·克劳”时,黑人犯罪已成为非洲裔美国人视觉文化中讨论男子气概、阶级排斥、性别和自我问题的关键镜头。这篇文章将论证“持续的黑人囚禁的潜台词”是推动黑人动作类型和非裔美国人表现的主要借口,作为种族化身份的关键标志,作为充满非归属复杂性的黑人主体性的指标。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.10
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38
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