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Hollywood Fantasies of Miscegenation analyzes white fantasies of interracial desire in the history of popular American film. From the first interracial screen kiss of 1903, through the Production Code's nearly thirty-year ban on depictions of "miscegenation," to the contemplation of mixed marriage in Guess Who's Coming to Dinner (1967), this book demonstrates a long, popular, yet underexamined record of cultural fantasy at the movies. With ambitious new readings of well-known films like D.W. Griffith's 1915 epic The Birth of a Nation and of key forgotten films and censorship documents, Susan Courtney argues that dominant fantasies of miscegenation have had a profound impact on the form and content of American cinema. What does it mean, Courtney asks, that the image of the black rapist became a virtual cliché, while the sexual exploitation of black women by white men under slavery was perpetually repressed? What has this popular film legacy invited spectators to remember and forget? How has it shaped our conceptions of, and relationships to, race and gender? Richly illustrated with more than 140 images, Hollywood Fantasies of Miscegenation carefully attends to cinematic detail, revising theories of identity and spectatorship as it expands critical histories of race, sex, and film. Courtney's new research on the Production Code's miscegenation clause also makes an important contribution, inviting us to consider how that clause was routinely interpreted and applied, and with what effects.

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Screen Saviors studies how the self of whites is imagined in Hollywood movies—by white directors featuring white protagonists interacting with people of another color. This collaboration by a sociologist and a film critic, using the new perspective of critical "white studies," offers a bold and sweeping critique of almost a century's worth of American film, from Birth of Nation (1915) through Black Hawk Down (2001). Screen Saviors studies the way in which the social relations that we call "race" are fictionalized and pictured in the movies. It argues that films are part of broader projects that lead us to ignore or deny the nature of the racial divide in which Americans live. Even as the images of racial and ethnic minorities change across the twentieth century, Hollywood keeps portraying the ideal white American self as good-looking, powerful, brave, cordial, kind, firm, and generous: a natural-born leader worthy of the loyalty of those of another color. The book invites readers to conduct their own analyses of films by showing how this can be done in over 50 Hollywood movies. Among these are some films about the Civil War—Birth of a Nation , Gone with the Wind, and Glory; some about white messiahs who rescue people of another color—Stargate, To Kill a Mockingbird, Mississippi Burning, Three Kings, and The Matrix; the three versions of Mutiny on the Bounty (1935, 1962, and 1984) and interracial romance—Guess Who's Coming to Dinner. Forty years of Hollywood fantasies of interracial harmony, from The Defiant Ones and In the Heat of the Night through the Lethal Weapon series and Men in Black are examined. This work in the sociology of knowledge and cultural studies relates the movies of Hollywood to the large political agendas on race relation in the United States. Screen Saviors appeals to the general reader interested in the movies or in race and ethnicity as well as to students of com

Addresses early mixed-race film characters, Blaxploitation, mixed race in television for children, and the outing of mixed-race stars on the Internet, among other issues and contemporary trends in mixed-race representation. From publisher description.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The third book in the series, Critical Race Theory and Bamboozled, offers a concise introduction to Critical Race Theory in jargon-free language and shows how this theory can be deployed to interpret Spike Lee's critically acclaimed 2000 film Bamboozled. The most common approach to issues of “race” and “otherness” continues to focus primarily on questions of positive vs. negative representations and stereotype analysis. Critical Race Theory, instead, designates a much deeper reflection on the constitutive role of race in the legal, social, and aesthetic formations of US culture, including the cinema, where Bamboozled provides endless examples for discussion and analysis. Alessandra Raengo's Critical Race Theory and Bamboozled is the first to connect usually specialized considerations of race to established fields of inquiry in the humanities, particularly those concerned with issues of representation, capital, power, affect, and desire.

The act of reproduction, and its variants, never change much, but our ideas about the meaning of sex are in constant flux. Switch a decade, cross a border, or traverse class lines and the harmless pleasures of one group become the gravest crimes in another. Combining meticulous research and lively storytelling, The Boundaries of Desire traces the fast–moving bloodsport of sex law over the past century, and challenges our most cherished notions about family, power, gender, and identity. Starting when courts censored birth control information as pornography and let men rape their wives, and continuing through the "sexual revolution" and into the present day (when rape, gay rights, sex trafficking, and sex on the internet saturate the news), Berkowitz shows how the law has remained out of synch with the convulsive changes in sexual morality. By focusing on the stories of real people, Berkowitz adds a compelling human element to what might otherwise be faceless legal battles. The law is made by people, after all, and nothing sparks intolerance – on the left and right –– more than sex. Ultimately, Berkowitz shows the emptiness of sanctimonious condemnation, and argues that sexual questions are too subtle and volatile for simple, catch–all solutions.

In the American imagination, the South is a place both sexually open and closed, outwardly chaste and inwardly sultry. Sex and Sexuality in Modern Southern Culture demonstrates that there is no central theme that encompasses sex in the U.S. South, but rather a rich variety of manifestations and embodiments influenced by race, gender, history, and social and political forces. The twelve essays in this volume shine a particularly bright light on the significance of race in shaping the history of southern sexuality, primarily in the period since World War II. Francesca Gamber discusses the politics of interracial sex during the national civil rights movement, while Katherine Henninger and Riché Richardson each consider the intersections of race and sexuality in the blaxploitation film Mandingo and the comedy of Steve Harvey, respectively. Political and religious regulation of sexual behavior also receives attention in Claire Strom’s essay on venereal disease treatment in wartime Florida, Stephanie M. Chalifoux’s examination of prostitution networks in Alabama, Krystal Humphreys’s piece on purity culture in modern Christianity, and Whitney Strub’s essay delving into the sexual politics of the Memphis Deep Throat trials. Specific places in the South figure prominently in Jerry Watkins’s essay on queer sex in the Redneck Riviera of northern Florida, Richard Hourigan’s exploration of bachelor parties in Myrtle Beach, and Matt Miller’s piece on African American spring break celebrations in Atlanta. Finally, Abigail Parsons and Trent Brown investigate southern portrayals of gender and sexuality in the fiction of Fannie Flagg and Larry Brown. Above all, Sex and Sexuality in Modern Southern Culture demonstrates that sex has been a fluid and resilient force operating across multiple discourses and practices in the contemporary South, and remains a vital component in the perception of a culturally complex region.

There's a folk memory of China in which numberless yellow hordes pour out of the 'mysterious East' to overwhelm the vulnerable West, accompanied by a stereotype of the Chinese as cruel, cunning and depraved. Hollywood films played their part in perpetuating these myths and stereotypes that constituted 'The Yellow Peril'. Jeffrey Richards examines in detail how and why they did it. He shows how the negative image was embodied in recurrent cinematic depictions of opium dens, tong wars, sadistic dragon ladies and corrupt warlords and how, in the 1930s and 1940s, a countervailing positive image involved the heroic peasants of The Good Earth and Dragon Seed fighting against Japanese invasion in wartime tributes to the West's ally, Nationalist China. The cinema's split level response is also traced through the images of the ultimate Oriental villain, the sinister Dr. Fu Manchu and the timeless Chinese hero, the intelligent and benevolent detective Charlie Chan.Filling a longstanding gap in Cinema and Cultural History, the book is founded in fresh research into Hollywood's shifting representations of China and its people.