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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
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This document was uploaded on 03/26/2014.
- Spring '14