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The 2011 ‘riots’ in context
Adam Elliott-Cooper

figure lurking in the cities, that enables politicians, the police, the press and eventually ‘common-sense’ racism, to legitimise the policies necessary to ‘police the crisis’. 7 This chapter analyses political rhetoric, the conservative press and the policing of Black men to unpack the ways in which Black masculinity is framed as deviant, dangerous and alien to Britain. It is contrasted with legitimate white masculinities that manifest themselves through success in the market economy, state power, or the nuclear family. Building on the previous chapter, I argue that

in Black resistance to British policing
Open Access (free)
Robert J. Corber

The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.

James Baldwin Review
Antonia Lucia Dawes

bystanders towards the forces of law and order highlighted the strong semantic connections between black masculinity, street vending, urban decay, criminality and anti-immigration beliefs about being swamped such that, in order to insult the refugees, it was enough simply to accuse them of setting up their own market. Their worldly belongings came to symbolise the wares laid out on the pavement by other West African street vendors, and all the tensions around economic entitlement and use of public space associated with those activities. Describing the group as guappi

in Race talk
The West India Regiments’ dress until 1900
Steeve O. Buckridge

, magazines, cartes de viste , and portrait photography to develop an understanding of the colonial military and imperial uniforms. I argue that the relationship of military dress to Black men’s identity and Black masculinity was more complex than has previously been considered, and that the military dress of the British West India Regiments was transformed over time into meaningful designs that not only influenced and shaped identities, but also served as a visual reminder and symbol of privilege and elitism that

in Political and Sartorial Styles

Deporting Black Britons provides an ethnographic account of deportation from the UK to Jamaica. It traces the painful stories of four men who were deported after receiving criminal convictions in the UK. For each of the men, all of whom had moved to the UK as children, deportation was lived as exile – from parents, partners, children and friends – and the book offers portraits of survival and hardship in both the UK and Jamaica. Based on over four years of research, Deporting Black Britons describes the human consequences of deportation, while situating deportation stories within the broader context of policy, ideology, law and violence. It examines the relationship between racism, criminalisation and immigration control in contemporary Britain, suggesting new ways of thinking about race, borders and citizenship in these anti-immigrant times. Ultimately, the book argues that these stories of exile and banishment should orient us in the struggle against violent immigration controls, in the UK and elsewhere.

Open Access (free)
Postcolonial governance and the policing of family

Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Jonathan Ward

before he pursues Flora through the forest, in a moment of what Laura Mulvey terms ‘erotic contemplation’, as he frames his penis for the camera to focus upon. 26 Griffith pauses the narrative so that the viewer can consume Gus’s body visually, while understanding that this body represents the rapacious potential of Black masculinity within the film’s ideology. This

in D.W. Griffith’s The Birth of a Nation
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Risky business
Nicky Falkof

– benevolent, generous, altruistic – and the scapegoating of black masculinity as an innate threat. These episodes place people within clear frames of social identity. Like narrative, they are a powerful part of the arsenal of tools that we use to explain the world and our societies. Third, all of these stories depend on notions of belonging and concurrently of not belonging. In each instance, the narrative in question helps to cement a group or a community, whether of anxious parents worried that their children are not safe at

in Worrier state
Ruvani Ranasinha

). Jo initiated Kureishi's enduring passion for the black American jazz trumpeter and composer Miles Davis. Until she played him In a Silent Way he had assumed jazz was the preserve of ‘old, white men with potbellies’, rather than ‘the steamy music of the black oppressed’. 4 With his fast cars, slick clothes and beautiful girlfriends, Davis personified cool, sophisticated, defiant black masculinity. 5 Mesmerised by the strange electric jazz record with its rock

in Hanif Kureishi