Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr

IF 0.1 3区 艺术学 0 FILM, RADIO, TELEVISION
Aniko Bodroghkozy
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引用次数: 0

Abstract

Both the Martin Luther King Jr.–led Selma voting rights campaign of 1965 and the 2017 “Summer of Hate” in Charlottesville produced a white female martyr. Viola Liuzzo was murdered by KKK members at the end of the Selma-to-Montgomery march that culminated the Selma campaign. Heather Heyer was murdered in a terrorist car attack by a neo-Nazi at the end of the suspended “Unite the Right” rally. Both women were hailed in the press as heroes. Both were misogynistically attacked in white supremacist media—in ways that were almost identical. How can we understand the media representation of white women as racial justice activists and the ways white supremacists understand them in their media platforms? What about the media treatment of African American women activists in Selma and Charlottesville? What's changed, and what hasn't, in fifty years? What can this comparative case study suggest about how the media tends to portray white women and women of color in other social change movements?
维奥拉·柳佐/希瑟·海耶:调解反种族主义白人女烈士
1965年马丁·路德·金领导的塞尔玛投票权运动和2017年夏洛茨维尔的“仇恨之夏”都产生了一位白人女性烈士。维奥拉·柳佐在塞尔玛至蒙哥马利游行结束时被KKK成员谋杀,塞尔玛战役达到高潮。希瑟·海耶在暂停的“团结右翼”集会结束时,在一次新纳粹分子的恐怖汽车袭击中被谋杀。两位女性都被媒体誉为英雄。两人在白人至上主义媒体上都遭到了厌恶女性的攻击——方式几乎完全相同。我们如何理解媒体对白人女性作为种族正义活动家的描述,以及白人至上主义者在其媒体平台上对她们的理解?媒体对塞尔玛和夏洛茨维尔的非裔美国女性活动家的待遇如何?五十年来,什么改变了,什么没有改变?这项比较案例研究对媒体在其他社会变革运动中如何描绘白人女性和有色人种女性有什么启示?
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来源期刊
CAMERA OBSCURA
CAMERA OBSCURA FILM, RADIO, TELEVISION-
CiteScore
0.30
自引率
0.00%
发文量
12
期刊介绍: Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.
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