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Irish and African American cinema : identifying others and performing identities, 1980-2000

Author: Maria Pramaggiore
Publisher: Albany : State University of New York Press, [2007]
Series: SUNY series, cultural studies in cinema/video.
Edition/Format:   Print book : State or province government publication : EnglishView all editions and formats
Database:WorldCat
Summary:
"Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American filmes, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The  Read more...
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Details

Material Type: Government publication, State or province government publication, Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Maria Pramaggiore
ISBN: 9780791470954 0791470954 0791470962 9780791470961
OCLC Number: 70199862
Description: ix, 245 pages : illustrations ; 24 cm.
Contents: Identifying others --
Sampling blackness : music and identification in the films of Neil Jordan and Spike Lee --
"It's a wise child that knows his own father" : pregnant performances and maternal mythologies --
Culturing violence : masculine identification in Irish and African American gangster films --
"Both sides of the epic" : identification and the nonessentialist western --
Conclusion : film identification and postmodern identity politics.
Series Title: SUNY series, cultural studies in cinema/video.
Responsibility: Maria Pramaggiore.
More information:

Abstract:

"Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American filmes, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The porous sense of self associated with moments of identification in these films offers a cinematic counterpart to W.E.B. Du Bois's potent concept of double consciousness, an epistemological standpoint derived from experiences of colonization, racialization, and cultural disruption. Characters in these films, Pramaggiore suggests, reject the national paradigm of insider and outsider in favor of diasporic both/and notions of self, thereby endorsing the postmodern concept of identity as performance."--Page 4 of cover.

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