Louis-Georges Schwartz
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195315059
- eISBN:
- 9780199871995
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195315059.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
The chapter analyzes the Rodney King tape's use as motion picture evidence and as television footage. The analysis reveals differences in the function of evidence within the two institutions.
The chapter analyzes the Rodney King tape's use as motion picture evidence and as television footage. The analysis reveals differences in the function of evidence within the two institutions.
Louis-Georges Schwartz
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195315059
- eISBN:
- 9780199871995
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195315059.003.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Chapter 1 summarizes the book and examines the Society for Cinema Studies Resolution on the Rodney King case.
Chapter 1 summarizes the book and examines the Society for Cinema Studies Resolution on the Rodney King case.
Catherine Zimmer
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9781479864379
- eISBN:
- 9781479876853
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479864379.003.0006
- Subject:
- Society and Culture, Media Studies
The final chapter provides detailed analysis of the1995 film Strange Days, which historically reframes the discussion of temporality in surveillance narratives and surveillance practice. The film ...
More
The final chapter provides detailed analysis of the1995 film Strange Days, which historically reframes the discussion of temporality in surveillance narratives and surveillance practice. The film works around and through the entangled racial tensions and media landscape of the 1990s, most fully represented by its visual and narrative references to the videotaped police assault on Rodney King. Bringing together this mise-en-scène of historicized racial violence with a science-fictional virtual reality fantasy, Strange Days represents a media and surveillance culture on the cusp of digitization, serving as a form of what certain new media theorists have conceptualized as “remediation.” The reading of the film in this chapter suggests that it is through such remediation that resistant politics might be located in the cinematic narration of surveillance, in part by redefining circularity and repetition. The chapter concludes with the point that “surveillance cinema” necessarily makes clear not just the contiguities but also the inconsistencies between the ideological premises of surveillance and the demands of narrative form, and thus cinema can be seen, even as it functions alongside other surveillance formations, as a point of access to the often failed performances of surveillant power.Less
The final chapter provides detailed analysis of the1995 film Strange Days, which historically reframes the discussion of temporality in surveillance narratives and surveillance practice. The film works around and through the entangled racial tensions and media landscape of the 1990s, most fully represented by its visual and narrative references to the videotaped police assault on Rodney King. Bringing together this mise-en-scène of historicized racial violence with a science-fictional virtual reality fantasy, Strange Days represents a media and surveillance culture on the cusp of digitization, serving as a form of what certain new media theorists have conceptualized as “remediation.” The reading of the film in this chapter suggests that it is through such remediation that resistant politics might be located in the cinematic narration of surveillance, in part by redefining circularity and repetition. The chapter concludes with the point that “surveillance cinema” necessarily makes clear not just the contiguities but also the inconsistencies between the ideological premises of surveillance and the demands of narrative form, and thus cinema can be seen, even as it functions alongside other surveillance formations, as a point of access to the often failed performances of surveillant power.
Sina Kramer
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780190625986
- eISBN:
- 9780190626006
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190625986.003.0007
- Subject:
- Political Science, American Politics, Political Theory
Chapter 7 takes up the political unintelligibility of the 1992 Los Angeles (LA) Riot/Rebellion to understand—if not why the riots remain unintelligible to us as political contestation of political ...
More
Chapter 7 takes up the political unintelligibility of the 1992 Los Angeles (LA) Riot/Rebellion to understand—if not why the riots remain unintelligible to us as political contestation of political conditions—how this unintelligibility is produced and what significance it bears for us now. While riots (and race riots in particular) might be politically intelligible under certain conditions, the consolidation of anti-Black racism with riots throughout the latter twentieth century rendered “America’s first multiracial riot” particularly unintelligible as a political contestation of constitutive exclusion. I discuss the interrelation of gender, class, and sexuality in the Rodney King beating, the murder of Latasha Harlins, and the multiracial geography of the riots to articulate how the continued unintelligibility of the 1992 Los Angeles Riot/Rebellion, as well as contemporary riots, constitute political agency now.Less
Chapter 7 takes up the political unintelligibility of the 1992 Los Angeles (LA) Riot/Rebellion to understand—if not why the riots remain unintelligible to us as political contestation of political conditions—how this unintelligibility is produced and what significance it bears for us now. While riots (and race riots in particular) might be politically intelligible under certain conditions, the consolidation of anti-Black racism with riots throughout the latter twentieth century rendered “America’s first multiracial riot” particularly unintelligible as a political contestation of constitutive exclusion. I discuss the interrelation of gender, class, and sexuality in the Rodney King beating, the murder of Latasha Harlins, and the multiracial geography of the riots to articulate how the continued unintelligibility of the 1992 Los Angeles Riot/Rebellion, as well as contemporary riots, constitute political agency now.
Lynn S. Chancer
- Published in print:
- 2005
- Published Online:
- February 2013
- ISBN:
- 9780226101125
- eISBN:
- 9780226101132
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226101132.001.0001
- Subject:
- Sociology, Law, Crime and Deviance
This book starts by considering the following: O. J. Simpson, the Central Park jogger, Bensonhurst, William Kennedy Smith, and Rodney King. These names mean more than crimes and criminals, more than ...
More
This book starts by considering the following: O. J. Simpson, the Central Park jogger, Bensonhurst, William Kennedy Smith, and Rodney King. These names mean more than crimes and criminals, more than court cases. They are cultural events that, for better or worse, gave concrete expression to latent social conflicts in American society. This book explores how these cases became conflated with larger social causes on a collective level and how this phenomenon has affected the law, the media, and social movements. An incisive chronicle of some of the most polarizing cases of the 1980s and 1990s, it shows that their landmark status results from the overlapping interaction of diverse participants. The merging of legal cases and social causes, the book argues, has wrought ambivalent effects on both social movements and the law. On the one hand, high-profile crimes offer important opportunities for emotional expression and raise awareness of social issues. But on the other hand, social problems cannot be resolved through the either/or determinations that are the goals of the legal system, creating frustration for those who look to the outcome of these cases for social progress. Guilt or innocence through the lens of the media leads to either defeat or victory for a social cause—a confounding situation that made the O. J. Simpson case, for example, unable to resolve the issues of domestic violence and police racism that it had come to symbolize.Less
This book starts by considering the following: O. J. Simpson, the Central Park jogger, Bensonhurst, William Kennedy Smith, and Rodney King. These names mean more than crimes and criminals, more than court cases. They are cultural events that, for better or worse, gave concrete expression to latent social conflicts in American society. This book explores how these cases became conflated with larger social causes on a collective level and how this phenomenon has affected the law, the media, and social movements. An incisive chronicle of some of the most polarizing cases of the 1980s and 1990s, it shows that their landmark status results from the overlapping interaction of diverse participants. The merging of legal cases and social causes, the book argues, has wrought ambivalent effects on both social movements and the law. On the one hand, high-profile crimes offer important opportunities for emotional expression and raise awareness of social issues. But on the other hand, social problems cannot be resolved through the either/or determinations that are the goals of the legal system, creating frustration for those who look to the outcome of these cases for social progress. Guilt or innocence through the lens of the media leads to either defeat or victory for a social cause—a confounding situation that made the O. J. Simpson case, for example, unable to resolve the issues of domestic violence and police racism that it had come to symbolize.
Sheena Rogers
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199862139
- eISBN:
- 9780199332755
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199862139.003.0008
- Subject:
- Psychology, Cognitive Neuroscience
Slow motion images in film and video are often thought to truthfully represent events in the real world, hence they are used in action replays and courts of law as evidence. While such films preserve ...
More
Slow motion images in film and video are often thought to truthfully represent events in the real world, hence they are used in action replays and courts of law as evidence. While such films preserve information about what, who, where and how often, a close look at a variety of film and video images and empirical work from the author’s laboratory demonstrate that some properties of the physical world are transformed. These transformations could be considered lies in some contexts but they can also be the basis of powerful aesthetic experiences when used artfully in film. This chapter’s three level framework of image meaning is used to organize possible psychological responses to slow motion images.Less
Slow motion images in film and video are often thought to truthfully represent events in the real world, hence they are used in action replays and courts of law as evidence. While such films preserve information about what, who, where and how often, a close look at a variety of film and video images and empirical work from the author’s laboratory demonstrate that some properties of the physical world are transformed. These transformations could be considered lies in some contexts but they can also be the basis of powerful aesthetic experiences when used artfully in film. This chapter’s three level framework of image meaning is used to organize possible psychological responses to slow motion images.
Maurice J. Hobson
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781469635354
- eISBN:
- 9781469635378
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469635354.003.0007
- Subject:
- History, African-American History
Chapter six focuses on Mayor Maynard Jackson’s creation of the City of Atlanta’s Bureau of Cultural Affairs, the first institution within city government dedicated to the support of artists, their ...
More
Chapter six focuses on Mayor Maynard Jackson’s creation of the City of Atlanta’s Bureau of Cultural Affairs, the first institution within city government dedicated to the support of artists, their creative expressions and arts organizations. The goal of the Bureau was to make all forms of art—established and experimental—more accessible to Atlanta’s citizens. The Bureau empowered a multitude of artists and arts organizations through city funded grants and broke new ground in stabling a niche for black musical genres such as jazz and classical music as well as alternative films. This set the stage for Atlanta to boom in terms of black popular culture, as Jackson’s black political power yielded an expressive arm, a black arts movement unique to Atlanta, making it ripe for popular culture to be spewed and accessed critically.
“Dirty South” rap music evolved out of this black arts movement, and opened black Atlanta to social commentary from a new generation of artists that lived in the underbelly trampled over by Atlanta’s pursuit of a global commercial center. This counter-narrative and demonstration, gave a southern perspective of popular culture spewed and assessed critically in the city. It was grounded in Hip-hop and centered on this particular sector of youth culture, the meanings and significance of a recently self-defined southern–style of rap and Hip-hop culture and was established and promoted by Organized Noize’s OutKast and Goodie Mob, rap groups hailing from Atlanta’s Southwest side. Their music imbibed an aesthetic that was particular to the South in general and Atlanta in particular but was consumed by markets nationwide. In this music, artists call out Atlanta’s black politicians and their governing practices. Using popular culture from Atlanta provides a useful scope through which to view the lingering tensions and trends that were particular to Atlanta as a result of the “Olympification” of the city.Less
Chapter six focuses on Mayor Maynard Jackson’s creation of the City of Atlanta’s Bureau of Cultural Affairs, the first institution within city government dedicated to the support of artists, their creative expressions and arts organizations. The goal of the Bureau was to make all forms of art—established and experimental—more accessible to Atlanta’s citizens. The Bureau empowered a multitude of artists and arts organizations through city funded grants and broke new ground in stabling a niche for black musical genres such as jazz and classical music as well as alternative films. This set the stage for Atlanta to boom in terms of black popular culture, as Jackson’s black political power yielded an expressive arm, a black arts movement unique to Atlanta, making it ripe for popular culture to be spewed and accessed critically.
“Dirty South” rap music evolved out of this black arts movement, and opened black Atlanta to social commentary from a new generation of artists that lived in the underbelly trampled over by Atlanta’s pursuit of a global commercial center. This counter-narrative and demonstration, gave a southern perspective of popular culture spewed and assessed critically in the city. It was grounded in Hip-hop and centered on this particular sector of youth culture, the meanings and significance of a recently self-defined southern–style of rap and Hip-hop culture and was established and promoted by Organized Noize’s OutKast and Goodie Mob, rap groups hailing from Atlanta’s Southwest side. Their music imbibed an aesthetic that was particular to the South in general and Atlanta in particular but was consumed by markets nationwide. In this music, artists call out Atlanta’s black politicians and their governing practices. Using popular culture from Atlanta provides a useful scope through which to view the lingering tensions and trends that were particular to Atlanta as a result of the “Olympification” of the city.
Jennifer Harford Vargas
- Published in print:
- 2018
- Published Online:
- October 2017
- ISBN:
- 9780190642853
- eISBN:
- 9780190642884
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190642853.003.0005
- Subject:
- Literature, American, 20th Century Literature, World Literature
This chapter explores how the novel can plot out fantasies of justice, using Héctor Tobar’s novel The Tattooed Soldier to demonstrate how the novel can challenge mass impunity in the Americas. The ...
More
This chapter explores how the novel can plot out fantasies of justice, using Héctor Tobar’s novel The Tattooed Soldier to demonstrate how the novel can challenge mass impunity in the Americas. The novel’s protagonist takes advantage of the chaos of the Rodney King uprisings in Los Angles to shoot and kill the Guatemalan military soldier who murdered his wife and son and who received counterinsurgency training at the United States’ School of the Americas. These diverse acts of rage against institutionalized impunity are comparatively illuminated in the novel via intersecting plot lines, rotating points of view, disruptive flashbacks, iterative events, and shifting geographies. The chapter further unpacks the political and formal valences of plot, arguing that the novel’s structure is at odds with the two main protagonists’ narrative desires. Though the novel’s revenge plot is resolved, the novel does not resolve the larger plot for justice; the chapter ends by considering alternative means of generating social transformation and attaining justice.Less
This chapter explores how the novel can plot out fantasies of justice, using Héctor Tobar’s novel The Tattooed Soldier to demonstrate how the novel can challenge mass impunity in the Americas. The novel’s protagonist takes advantage of the chaos of the Rodney King uprisings in Los Angles to shoot and kill the Guatemalan military soldier who murdered his wife and son and who received counterinsurgency training at the United States’ School of the Americas. These diverse acts of rage against institutionalized impunity are comparatively illuminated in the novel via intersecting plot lines, rotating points of view, disruptive flashbacks, iterative events, and shifting geographies. The chapter further unpacks the political and formal valences of plot, arguing that the novel’s structure is at odds with the two main protagonists’ narrative desires. Though the novel’s revenge plot is resolved, the novel does not resolve the larger plot for justice; the chapter ends by considering alternative means of generating social transformation and attaining justice.
Nona Willis Aronowitz
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816681204
- eISBN:
- 9781452949048
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816681204.003.0036
- Subject:
- Literature, Criticism/Theory
This chapter focuses on the trial of O. J. Simpson, who was accused of two counts of murder in relation to the deaths of his ex-wife, Nicole Brown Simpson, and waiter Ronald Lyle Goldman. Simpson’s ...
More
This chapter focuses on the trial of O. J. Simpson, who was accused of two counts of murder in relation to the deaths of his ex-wife, Nicole Brown Simpson, and waiter Ronald Lyle Goldman. Simpson’s history of violence against Nicole was damning, even without the evidence Judge Lance Ito had disallowed. There was simply too much physical evidence to be entirely invalidated by the bungling that had surrounded its collection. In the end, however, the jury returned a verdict of not guilty. The Rodney King case was the wrong gird to lay on O. J. Simpson, but it’s wrong to equate the verdict with the South’s old habit of routinely acquitting whites who committed crimes against blacks. The jury in the O. J. Simpson case did not act out of animus toward the victims because of their race, or Nicole because of her sex; it didn’t imply that their deaths were a good thing for the social order; it simply ignored them.Less
This chapter focuses on the trial of O. J. Simpson, who was accused of two counts of murder in relation to the deaths of his ex-wife, Nicole Brown Simpson, and waiter Ronald Lyle Goldman. Simpson’s history of violence against Nicole was damning, even without the evidence Judge Lance Ito had disallowed. There was simply too much physical evidence to be entirely invalidated by the bungling that had surrounded its collection. In the end, however, the jury returned a verdict of not guilty. The Rodney King case was the wrong gird to lay on O. J. Simpson, but it’s wrong to equate the verdict with the South’s old habit of routinely acquitting whites who committed crimes against blacks. The jury in the O. J. Simpson case did not act out of animus toward the victims because of their race, or Nicole because of her sex; it didn’t imply that their deaths were a good thing for the social order; it simply ignored them.
Dale S. Wright
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780190622596
- eISBN:
- 9780190622626
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190622596.003.0002
- Subject:
- Religion, Philosophy of Religion
“The Bodhisattva’s Practice of Enlightenment” interprets a Los Angeles Times newspaper opinion piece by Thich Nhat Hanh as a contemporary image of enlightenment with far-reaching implications. ...
More
“The Bodhisattva’s Practice of Enlightenment” interprets a Los Angeles Times newspaper opinion piece by Thich Nhat Hanh as a contemporary image of enlightenment with far-reaching implications. Written in response to the brutal police beating of Rodney King and not intended for a Buddhist audience, this brief newspaper article nevertheless provides glimpses into the contemporary meaning of enlightenment. The chapter considers Thich Nhat Hanh’s comments in relation to the basic principles of Buddhist ethics before turning to the Vimalakīrti sūtra, a classical Mahayana Buddhist scripture, to extend an understanding of what it would mean to experience the world through an in-depth awareness of “no-self.” Dwelling on the bodhisattva’s effort to cultivate generosity of spirit, the chapter considers the kinds of human relations that Thich Nhat Hanh’s sense of enlightenment entails.Less
“The Bodhisattva’s Practice of Enlightenment” interprets a Los Angeles Times newspaper opinion piece by Thich Nhat Hanh as a contemporary image of enlightenment with far-reaching implications. Written in response to the brutal police beating of Rodney King and not intended for a Buddhist audience, this brief newspaper article nevertheless provides glimpses into the contemporary meaning of enlightenment. The chapter considers Thich Nhat Hanh’s comments in relation to the basic principles of Buddhist ethics before turning to the Vimalakīrti sūtra, a classical Mahayana Buddhist scripture, to extend an understanding of what it would mean to experience the world through an in-depth awareness of “no-self.” Dwelling on the bodhisattva’s effort to cultivate generosity of spirit, the chapter considers the kinds of human relations that Thich Nhat Hanh’s sense of enlightenment entails.
