Free PDF Mixed Race Hollywood
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Mixed Race Hollywood
Free PDF Mixed Race Hollywood
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Review
"An accomplished, well-researched view of race identity in cinema."-M/C Reviews“An interrogation of pop culture’s representations of multi-racial characters and interracial relationships.”-Colorlines"An immensely readable interrogation of contemporary representations of multi-racial characters and inter-racial relationships in film, television, and popular culture."-ColorLines"A significant step forward in the study of race and media. There are very few academic collections that match this one in timeliness, depth and readability. Mixed Race Hollywood reflects both a theoretical turn in critical race studies and the new representational habits of a culture in which celebrities wear their multiracial status as a badge of pride and sign of demographic pull."-Diane Negra,University of East Anglia"Each essay stands as an exciting contribution to an open-ended discussion."-Choice"Mixed Race Hollywood does to race what queer has done to sexuality—it challenges binary thinking and the normative categories it creates. This book opens up productive new areas for scholarship on Hollywood representation and the intersections of race, ethnicity, sexuality, gender, and nation."-Chon A. Noriega,University of California, Los Angeles
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About the Author
Mary C. Beltrán is an assistant professor of Communication Arts and Chicana/o-Latino/a Studies at the University of Wisconsin, Madison, and the author of Latina/o Stars in U.S. Eyes: The Making and Meanings of Film and TV Stardom.
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Product details
Paperback: 352 pages
Publisher: NYU Press (August 1, 2008)
Language: English
ISBN-10: 0814799892
ISBN-13: 978-0814799895
Product Dimensions:
6.1 x 0.8 x 9.2 inches
Shipping Weight: 1.3 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#48,971 in Books (See Top 100 in Books)
There are books about Native Americans in film, Blacks in film, Asian Americans in film, and Latinos in film. Off the top of my head, this is the first book dedicated to discussing multiracial matters in film. This was a needed and valued contribution to film analysis.The book tries to be incredibly diverse. It has male and female contributors. It discusses mixed-Blacks, mixed-Latinos, mixed-Asians, and to a slight degree mixed-Native Americans. It mentions both biracial men and women. It analyzes films and characters from the distant past as well as over the last 15 years. It also tries to be gay-inclusive in one chapter.This book isn't just "Rah! Rah! Rah! Yeh, mixed people!" It says that with multiracial actors, viewers can often see what they want to see. For example, if you want to see Vin Diesel as Italian American, then you can, regardless of his other possible ancestries. Further, it notes that many multiracial actors make a point of not mentioning their backgrounds or stating it and then quickly moving on.The work does not limit itself to multiracial actors or characters. Some of the chapters discuss mixed-race marriage as their contribution to mixed-race Hollywood. I once made a list of multiracial male characters in film. What I learned was often times the actors were minors. It was less about the character having a lot of lines and more about the character being the child of an interracial liaison between a main character adult. (The Asian-Latino boy in "Four Rooms" is an example.) Thus, I am glad that at least two chapters focused on children. Still, some chapters stretched this "mixed" idea. They go on to discuss mixed-raced friendships and even fictional characters that were only half-human. One chapter said, "This movie was an American and German collaboration, so it's mixed on that level too." STRETCH!!!!The chapters have varying degrees of difficulty. Some readers not well-versed in film studies or ethnic studies will be lost sometimes. Oftentimes cultural producers don't want to have their work ripped apart by cultural critics. Thus, I am a bit surprised that film companies allowed stills of their films to be re-printed here. However, these films have been out of theaters for awhile and perhaps "there's no such thing as bad publicity." The authors do try to move beyond just labeling things as "good" or "bad" representations. Perhaps the film companies felt that readers may rent their film whether the academics liked the work or not.
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