The 1994 genocide in rwanda unprecedented for its

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Unformatted text preview: a grid of captivity across spatial dimensions of the Black “body”, the¶ Black “home”, and the Black “community”’ (111) while films like Alan and Albert¶ Hughes’s Menace II Society (1993), overlooked, do acknowledge the same grid and,¶ additionally, problematise Street Terrorism Enforcement and Prevention Act (STEP)¶ policing. The above examples expose the fact of Wilderson’s dubious and¶ questionable conclusions on black film.¶ Red, White and Black is particularly undermined by Wilderson’s propensity for¶ exaggeration and blinkeredness. In chapter nine, ‘“Savage” Negrophobia’, he writes:¶ The philosophical anxiety of Skins is all too aware that through the Middle¶ Passage, African culture became Black ‘style’ ... Blackness can be placed¶ and displaced with limitless frequency and across untold territories, by¶ whoever so chooses. Most important, there is nothing real Black people¶ can do to either check or direct this process ... Anyone can say ‘nigge...
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This document was uploaded on 03/26/2014.

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