It is a black specter waiting in the wings an endless

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: is, as unspoken grammars. This grammar can be discerned in the cinematic strategies (lighting, camera angles, image composition, and acoustic strategies/design), even when the script labors for the spectator to imagine social turmoil through the rubric of conflict (that is, a rubric of problems that can be posed and conceptually solved) as opposed to the rubric of antagonism (an irreconcilable struggle between entities, or positionalities, the resolution of which is not dialectical but entails the obliteration of one of the positions) . In other words, even when films narrate a story in which Blacks or Indians are beleaguered with problems that the script insists are conceptually coherent (usually having to do with poverty or the absence of “family values”), the non-narrative, or cinematic, strategies of the film often disrupt this coherence by posing the irreconcilable questions of Red and Black political ontology—or non-ontology. The grammar of antagonism breaks in on the mendacity of conflict. Civil Society Destruction The concept of civil society must be dismantled in order to have black subjectivity Wilderson, Professor UCI, 2003 (Frank B., “The Prison Slave as Hegemony’s (Silent) Scandal”, Soc Justice 30 no2...
View Full Document

This document was uploaded on 03/26/2014.

Ask a homework question - tutors are online