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This article traces what Élie Faure believed to be the racial, ethnic and geographic origins of art. Influenced by the writings of Gobineau and Taine, he asserts that the taxonomisation of species provides a model for the taxonomisation of artistic productions. The mixing of various races is evidenced in their artistic production, with the relative presence or absence of the rhythmic serving as an index for the presence or absence of certain types of blood, or racial/ethnic origins. Similarly, the qualities of the land where art is produced results in visible effects upon the (artistic) forms created by the people living in that geographic area. Métissage is considered a positive characteristic, and cinema the apogee of modern artistic production because of its integration of machine rhythms into the rhythms of human gesture.
depart from the heritage blockbuster or the intimiste auteur film. La Haine takes as its topic the cycle of hatred and violence which tends to characterise relationships between young people and the police in the working-class suburbs of France. Given that the banlieue is also the principal location of France’s marginalised ethnic minorities, cinematic representations of the banlieue cannot easily ignore the representation of ethnic differences, and in
its humour? 1 This chapter will examine a particular group of British films produced during the 1990s which sought to explore issues of national, cultural and ethnic identity in the form of narratives combining comic and dramatic plot developments, incidents and perspectives. Such films as Leon the Pig Farmer (Vadim Jean, Gary Sinyor, 1992), Wild West (David Attwood, 1992
Reading works on Baldwin from 2017 to 2019, the author tracks the significance of Baldwin within the Black Lives Matter movement and our growing need for police reform in conjunction with a revaluation of the lives of racial and ethnic minorities within the oppressive systemic biases of American social and political life.
This article attempts to understand the importance of Dracula and The Lady of the Shroud in relation to the Eastern Question, and in particular with reference to the controversy caused by the Treaty of Berlin (1878). Centring on Dracula‘s speech on his ethnic origins, the author shows how Stoker has manipulated his sources in order to present his protagonist as being more decidedly involved in wars with the Turks than he in fact was, and in doing so to justify Disraeli‘s pro-Austrian and pro-Turkish line at the Berlin Treaty. In this the influence of Stoker‘s Turcophile brother George makes itself known. During the Bosnia crisis these views change, but are nevertheless in keeping with the conservative and patriotic line.
American zombie Gothic films have changed markedly in their tone, style, and structure since September 11, an evolution that expands the Gothic mode to include the mobility of the narratives protagonists, a popularisation of the movies, and an increased engagement with a multi-ethnic international community. To remain timely, relevant, and commercially viable, such alterations must occur, and these shifts in particular can best be explained by the changing cinematic marketplace, the influence of videogames, and the policies and anxieties resulting from the (inter)national trauma of 9/11 and the War on Terror. This essay examines the film version of World War Z as a key text for exploring the current transition from a localised siege narrative to an international kind of road trip movie, a shift largely tied to the popularity of zombie-themed videogames.
The popular cultural ubiquity of the zombie in the years following the Second World War is testament to that monster‘s remarkable ability to adapt to the social anxieties of the age. From the red-scare zombie-vampire hybrids of I Am Legend (1954) onwards, the abject alterity of the ambulant dead has been deployed as a means of interrogating everything from the war in Vietnam (Night of the Living Dead, 1968) to the evils of consumerism (Dawn of the Dead, 1978). This essay explores how, in the years since 9/11, those questions of ethnicity and gender, regionality and power that have haunted the zombie narrative since 1968 have come to articulate the social and cultural dislocations wrought by free-market economics and the shock doctrines that underscore the will to global corporatism. The article examines these dynamics through consideration of the figure of the zombie in a range of contemporary cultural texts drawn from film, television, graphic fiction, literature and gaming, each of which articulates a sense not only neo-liberalism itself has failed but simply wont lie down and die. It is therefore argued that in an age of corporate war and economic collapse, community breakdown and state-sanctioned torture, the zombie apocalypse both realises and works through the failure of the free market, its victims shuffling through the ruins, avatars of the contemporary global self.
Adjusting the contrast National and cultural identity, ethnicity and difference have always been major themes within the national psyche. People are witnessing the rise and visibility of far-right politics and counter-movements in the UK and USA. Simultaneously, there is an urgent need to defend the role of public service media. This book emerges at a time when these shifts and conjunctures that impact on and shape how 'race' and racial difference are perceived. They are coinciding with rapidly changing media contexts and environments and the kinds of racial representations that are constructed within public service broadcasting (PSB), specifically the BBC and Channel 4. The book explores a range of texts and practices that address the ongoing phenomenon of race and its relationship to television. Policies and the management of race; transnationalism and racial diversity; historical questions of representation; the myth of a multicultural England are also explored. It interrogates three television primarily created by women, written by women, feature women in most of the lead roles, and forcefully reassert the place of women in British history. The book contributes to the range of debates around television drama and black representation, examining BBC's Shoot the Messenger and Top Boy. Finally, it explores some of the history that led to the belated breakthrough of Black and Asian British comedy. The book also looks at the production of jokes about race and colour prior to the 1980s and 1990s, and questioning what these jokes tell us about British multiculturalism in this period.
(including Catherine Corsini, Claire Devers, Philippe Faucon, Serge Le Péron, Claire Simon and Marie Vermillard, all of whom have made films addressing questions of ethnicity and difference). Nous sans-papiers de France was signed by 175 filmmaking professionals and shown at the Cannes Film Festival in 1997. It consists of a three-minute close-up of Madjiguène Cissé, the articulate, intelligent spokeswoman for the sans-papiers of St-Bernard, herself of Senegalese
of Slovenia involved little bloodshed, Croatian and Bosnian claims to statehood were violently contested, both by the federal state and by substantial ethnic minorities in both republics. In 1991, 12 per cent of Croatia’s population were Serbs, and in Bosnia the population consisted of 44 per cent Muslims, 3 31 per cent Serbs and 17 per cent Croats. The Yugoslav state deployed the army in an attempt to preserve