This preview shows page 1. Sign up to view the full content.
Unformatted text preview: slave narrative [or Black film and Black film theory]. By providing heuristic evidence of the Negro’s humanity the slave narrative begins to write the history of Negro culture in terms of the history of
an extra-African self-reflective consciousness. (Judy 92) But this exercise is as liberating, as “productive of
subjectivity,” as a dog chasing its tail. For “[p]recisely at the point at which this intervention appears to succeed in
its determination of a black agent, however, it is subject to appropriation by a rather homeostatic thought: the Negro”
(97). And the Negro, as Fanon illustrates throughout Black Skin, White Masks, “is comparison,” nothing more and certainly nothing less,
for what is less than comparison? Fanon strikes at the heart of this tail-chasing circularity and the dread it catalyzes when he writes: No one knows
yet who [the Negro] is, but he knows that fear will fill the world when the world finds out. And when the world
knows the world always expects something of the Negro. He is afraid lest the world know, he is afraid of the fear
that the world would feel if the world knew. (BSWM emphasis mine 139) Humans->Ontology
We control the framing of the impacts and are a pr...
View Full Document
- Spring '14