The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema

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9781623567538: The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema

The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have sought to understand cinema's relationship to racial ideology. In attempting to do more than merely identify harmful stereotypes, research on 'films and race' appropriates ideas from post-structuralist theory. But on those platforms, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim's historical materialist approach uniquely triangulates well-known work by Edward Said with the Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. The Subject of Film and Race takes on topics such as identity politics, multiculturalism, multiracial discourse, and cyborg theory, to force film and media studies into rethinking their approach, specifically towards humanism and critical subjectivity. The book illustrates theoretical discussions with a diverse set of familiar films by John Ford, Michael Mann, Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, to show that we must always be aware of capitalist history when thinking about race, ethnicity, and films.

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About the Author:

Gerald Sim is Associate Professor of Film Studies at Florida Atlantic University, USA. His writing on topics ranging from national cinema to digital cinematography, financial television, and film music theory appears in Film Quarterly, Inter-Asia Cultural Studies, Projections, Rethinking Marxism, the Quarterly Review of Film and Video, Discourse, and other venues.

Review:

The Subject of Film and Race is a skillful foray into deeper issues of critical theory in the realm of films. Sims analysis establishes a clear foreground for the materialist approach to film studies that he outlines at the conclusion of the book ... With the boundaries of identity blurred, Sim’s approach allows critics to be concerned with core issues, neither burdened by essentialism, nor ambiguous or shifting subjectivities.” – Geoffery Luurs, Black Camera

“Gerald Sim's The Subject of Film and Race convenes the intersection of film studies and critical race theory, bringing the most powerful elements of each into a productive dialogue. As critically sharp as it is elegant, The Subject of Film and Race heralds a new moment in both discourses. But the force of this book lies not only in the illumination of films that Sim considers, nor in the representations of race he examines: nor, for that matter in their conjunction, however revealing. Rather, the brilliance of Sim's book lies in the subject of film and race it evokes, the subject it names as an agent and effect of the convergence of film and race, film studies in its most rigorous articulation and critical race theory.” ―Akira Mizuta Lippit, Professor of Critical Studies, School of Cinematic Arts, University of Southern California, USA, and author of Ex-Cinema: From a Theory of Experimental Film and Video (2012).

“At once erudite and eminently readable, The Subject of Film and Race proposes a bold new account of cinema’s racial economies. Through compelling analyses of a wide range of popular films, Sim challenges us to think again about the political potential of film cultures and film criticism.” ―Rosalind Galt, Reader in Film Studies, King’s College London, UK

The Subject of Film and Race offers a thorough summary of Critical Race Film Studies to date and, for this reason, serves as an excellent text on the subject. However, the real attraction of the book is that in successfully advancing the case for the neo Marxian critical subject to take centre stage, Sim's book has the potential to reinvigorate scholars and students alike to tackle the impasse that has been left by Post Structuralist thinking on crucial issues such as identity formation and aesthetic practice in the realm of race and representation.” ―Corin Willis, Senior Lecturer in Film Studies, Liverpool John Moores University, UK

“Gerald Sim’s The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema provides an excellent examination of modern film in the wake of contemporary scholarship on critical race theory. Sim uses an amalgamation of post-structural, postcolonial, and cyborg theories to situate his work within the larger context of critical race film studies, but adds to this paradigm a neo-Marxist perspective as a productive analytic framework for understanding issues of race, sex, and gender.” –Geoffrey Luurs, Black Camera

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Book Description Continuum Publishing Corporation, United States, 2014. Paperback. Book Condition: New. Language: English . Brand New Book. The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have sought to understand cinema s relationship to racial ideology. In attempting to do more than merely identify harmful stereotypes, research on films and race appropriates ideas from post-structuralist theory. But on those platforms, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim s historical materialist approach uniquely triangulates well-known work by Edward Said with the Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. The Subject of Film and Race takes on topics such as identity politics, multiculturalism, multiracial discourse, and cyborg theory, to force film and media studies into rethinking their approach, specifically towards humanism and critical subjectivity. The book illustrates theoretical discussions with a diverse set of familiar films by John Ford, Michael Mann, Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, to show that we must always be aware of capitalist history when thinking about race, ethnicity, and films. Bookseller Inventory # AAZ9781623567538

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