Passing and Posing between Black and White : : Calibrating the Color Line in U.S. Cinema / / Lisa Gotto.

• Superior document: Title is part of eBook package: De Gruyter DG Plus PP Package 2021 Part 2
• VerfasserIn: Gotto, Lisa,
• MitwirkendeR: Engell, Lorenz,
• Place / Publishing House: Bielefeld : : transcript Verlag, , [2021]; ©2021
• Year of Publication: 2021
• Language: English
• Series: Film
• Physical Description: 1 online resource (250 p.)

Since its inception, U.S. American cinema has grappled with the articulation of racial boundaries. This applies, in the first instance, to featuring mixed-race characters crossing the color line. In a broader sense, however, this also concerns viewing conditions and knowledge configurations. The fact that American film engages itself so extensively with the unbalanced relation between black and white is neither coincidental nor trivial to state - it has much more to do with negating boundaries that pertain to the medium itself. Lisa Gotto examines this constellation along the early history of American film, the cinematic modernism of the late 1950s, and the post-classical cinema of the turn of the millennium.

Table of Contents

Frontmatter -- Contents -- Acknowledgements -- Foreword -- Introduction -- I. Conquered – Unconquered -- The Birth of a Nation (David Wark Griffith, USA 1915) -- The Symbol of the Unconquered (Oscar Micheaux, USA 1920) -- II. Reflections – Shadows -- Imitation of Life (Douglas Sirk, USA 1959) -- Shadows (John Cassavetes, USA 1959) -- III. Blackface – Whiteface -- Bamboozled (Spike Lee, USA 2000) -- The Human Stain (Robert Benton, USA 2003) -- Conclusion -- IV. Appendix -- Bibliography -- Filmography -- List of Figures