David Lloyd
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780823282388
- eISBN:
- 9780823284948
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823282388.003.0002
- Subject:
- Philosophy, Aesthetics
“The Aesthetic Regime of Representation” focuses on the work of German idealist aesthetic thought in the political context of the bourgeois revolutions of America and France. Analyzing Kant’s ...
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“The Aesthetic Regime of Representation” focuses on the work of German idealist aesthetic thought in the political context of the bourgeois revolutions of America and France. Analyzing Kant’s Critique of Judgment, it considers the “turn to the aesthetic” as a means of forestalling the immediacy of revolution and installing an implicitly pedagogical and developmental system of representation that defines the human and the political subject as universal and disinterested. That system relies on a notion of common sense that separates the civil subject from the Savage, who remains fixed at the threshold of humanity. The foundations of aesthetic philosophy are at the same time the foundations of a “regime of representation” that offers not a means to inclusion, but a mode of regulating access to recognition as a fully human and politically capable subject.Less
“The Aesthetic Regime of Representation” focuses on the work of German idealist aesthetic thought in the political context of the bourgeois revolutions of America and France. Analyzing Kant’s Critique of Judgment, it considers the “turn to the aesthetic” as a means of forestalling the immediacy of revolution and installing an implicitly pedagogical and developmental system of representation that defines the human and the political subject as universal and disinterested. That system relies on a notion of common sense that separates the civil subject from the Savage, who remains fixed at the threshold of humanity. The foundations of aesthetic philosophy are at the same time the foundations of a “regime of representation” that offers not a means to inclusion, but a mode of regulating access to recognition as a fully human and politically capable subject.
Kristen Hoerl
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496817235
- eISBN:
- 9781496817273
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817235.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter examines contrasting depictions of the Black Power movement in Hollywood film and television that either confirmed or resisted what Herman Gray refers to as the “civil rights subject.” ...
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This chapter examines contrasting depictions of the Black Power movement in Hollywood film and television that either confirmed or resisted what Herman Gray refers to as the “civil rights subject.” The first half of the chapter explains how nineties-era movies Malcolm X and Panther presented affirmative images of radical black protest but anchored these images to traumatic counter-memories of black victimhood. The second half of this chapter critically reviews a variety of negative portrayals of the Black Panthers in media products between 1994 and 2013 including the movies Forrest Gump, Barbershop 2, and The Butler, the miniseries ‘The 60s, and an episode of the television program Law & Order to argue that Hollywood has routinely depicted black rage, not structural racism or white violence as the central problem requiring tough-on-crime solutions. The chapter interprets these portrayals in the context of the political backlash against civil rights gains and racial inequities within the criminal justice system.Less
This chapter examines contrasting depictions of the Black Power movement in Hollywood film and television that either confirmed or resisted what Herman Gray refers to as the “civil rights subject.” The first half of the chapter explains how nineties-era movies Malcolm X and Panther presented affirmative images of radical black protest but anchored these images to traumatic counter-memories of black victimhood. The second half of this chapter critically reviews a variety of negative portrayals of the Black Panthers in media products between 1994 and 2013 including the movies Forrest Gump, Barbershop 2, and The Butler, the miniseries ‘The 60s, and an episode of the television program Law & Order to argue that Hollywood has routinely depicted black rage, not structural racism or white violence as the central problem requiring tough-on-crime solutions. The chapter interprets these portrayals in the context of the political backlash against civil rights gains and racial inequities within the criminal justice system.
