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Unformatted text preview: uts.edu.au/journals/index.php/csrj/article/view/2304/2474, Acc:
—WILDERSON’S WHITE WATCH SEES RED ON BLACK: SOME WEAKNESSES¶ A few pages into Red, White and Black, I feared that it would just be a matter
of time¶ before Wilderson’s black‐ as‐ social‐ death idea and multiple attacks on issues and¶ scholars he disagrees with
run (him) into (theoretical) trouble. This happens in¶ chapter two, ‘The Narcissistic Slave’, where he critiques black film theorists and¶ books. For
example, Wilderson declares that Gladstone Yearwood’s Black Film as¶ Signifying Practice (2000) ‘betrays a kind of conceptual anxiety with respect to the¶ historical
object of study— ... it clings, anxiously, to the film‐as‐text‐as‐legitimateobject¶ of Black cinema.’ (62) He then quotes from Yearwood’s book to highlight ‘just¶ how
vague the aesthetic foundation of Yearwood’s attempt to construct a canon can¶ be’. (63)¶ And yet Wilderson’s highlighting is problematic because it overlooks the¶ ‘Diaspora’ or ‘African Diaspora’, a key component in Yearwood’s thesis that,¶ crucially, neither navel‐gazes (that is, at the US or
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This document was uploaded on 03/26/2014.
- Spring '14