Forgeries of Memory and Meaning: Blacks and the Regimes of Race in American Theater and Film Before World War II by Cedric J. RobinsonCedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early talkies firmly entrenched limited representations of African Americans. Robinsons analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema.
What is EIDETIC MEMORY? What does EIDETIC MEMORY mean? EIDETIC MEMORY meaning & explanation
Forgeries of Memory and Meaning
A call to action. A profoundly important and elegantly written historical study of a great artistic conflict. Provides a fresh contribution to one of the most significant aspects of American cinema. Robinson explores an impressive variety of important films, sustaining his discussion with fresh, insightful angles on the political economy of each film. This book makes a significant contribution to several interwoven, discursive currents involving race and representation, social Darwinism and scientific racism, minstrelsy and modernism, the plantation and the jungle, and black cultural and political resistance to several 'racial regimes' working themselves out in politics, media, and the cinema in America. This informative and engaging study offers an array of new and unexpected insights. One of the most important resources in years, this book is already a classic.
Robinson grounds his study in contexts that illuminate the parallel growth of racial beliefs and capitalism, beginning with Shakespearean England and the development of international trade. He demonstrates how the needs of American commerce determined the construction of successive racial regimes that were publicized in the theater and in motion pictures, particularly through plantation and jungle films. In addition to providing new depth and complexity to the history of black representation, Robinson examines black resistance to these practices. Whereas D. Griffith appropriated black minstrelsy and romanticized a national myth of origins, Robinson argues that Oscar Micheaux transcended uplift films to create explicitly political critiques of the American national myth.