Filming Black Voices and Stories: Slavery on America's Screens

Stevenson, Brenda E.

doi:10.1353/cwe.2018.0051

Cited by 4 publications

(1 citation statement)

References 35 publications

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“…79 For context, although slavery has been framed as the "Black American experience" by western media, it is a global African Diasporic experience. This regurgitated erroneous framing could be said to be attributed to US media's powerhouses' investments (Collins, 2009) in regularly exploiting and exporting "Black trauma" through slavery filmography (Stevenson, 2018) for mass media consumption. under the "USA" Flag, and 26% disembarked under the "Great Britain" flag between the 1600s -1800s.…”

Section: Gaining Insights On Uk Black and Black [89] Feminismsmentioning

confidence: 99%

Forget me not: demarginalising trailblazing and leading Black women’s WEIRD industrial, organisational, and societal career experiences with “power” in the world’s top music industry ecosystems

Blackwell¹

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Governments in the UK and US passed a slew of acts and laws, from 1960s onward, to prohibit discriminatory practices aimed at marginalised groups, across business and society. Despite these landmark rulings, it is still the case that ideological, institutional, interpersonal, and internalised acts of dehumanisation continue to permeate WEIRD (Western, Educated, Industrialized [sic], Rich, and Democratic) consciousness, perceived-to-be justifiable behaviours, as well as (dysfunctional) ways of relating within cultural paradigms, as (nonaccountability) being ascribed to “social norms”. By framing this groundbreaking IO psychological research project, within multiple wider social contexts, while also centring the implications of “human (business) practices” in the music industry, I sought to cross-culturally examine trailblazing and leading UK and US Black women’s industrial, organisational, and societal career experiences, in this “equality” era. Accordingly, I developed this project from the specific lenses of Black women navigating “power”, “identity politics”, the “politics of identity” and the implications of social constructs, in the, purported-to-be, egalitarian, top- performing music industry ecosystems of the world. In commissioning both intersectionality theory (IT) and, what I will name, an “intrasectional” conceptual framework – a hybrid critical realist ontology and Black feminist epistemology (BFE), where reflexivity would be valued, were ultimately chosen to guide the methodological choices. Also, as narrative research is critical to understanding “lived experiences”, (a criterion in BFE), this thesis leaned towards a Big Q qualitative model, incorporating a multimethod design, featuring two reflexive thematic analyses, using archival data, for Study 1 (n=9 industry trailblazers), to inform the approach for in- depth semi-structured interviews, for Study 2 (n=12 industry leaders). Based on the findings, the themes I generated from Study 1 and Study 2, strongly indicate that Black women’s systemic WEIRD MIE career experiences, are an alarming cause for concern, as the negative workplace issues they tend to encounter fit the criteria of a “humanitarian crisis”, by the UN’s standards, which deserves macro-contexts, urgent attention, and a call- to-action for stakeholder and organisational interventions, as Black women spoke to themes of workplace abuse and incivility, prolonged poor mental and physical health outcomes, other forms of multidimensional exploitation, as well as experiences with disconnection, and barriers at every level in their careers, in the relationship-driven music industry. As these outcomes adversely impacted the pace and progression, as well as trajectories, of their careers across the multisectoral and occupational spectrums in the MIEs, this thesis sought to explore how and why, adding an original contribution to knowledge in psychology through this niche exploration.

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Section: Gaining Insights On Uk Black and Black [89] Feminismsmentioning

confidence: 99%

Forget me not: demarginalising trailblazing and leading Black women’s WEIRD industrial, organisational, and societal career experiences with “power” in the world’s top music industry ecosystems

Blackwell¹

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Intrinsic Elements and Sociological Criticism of Green Book Movie

Rani

Winaya

2020

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The aims of the study were to find out the content of intrinsic elements of the Green Book movie and criticize the movie from sociological perspective. The study used qualitative method. It applied the theory of literature specfically intrinsic elements of drama proposed by Diniejko (2010) and sociological criticism proposed by Rapaport (2011). The results of the study were, firstly, the intrinsic elements found in the Green Book movie are plots, character, dialogue, setting, conflict, theme and motif which support the deeper understanding of the internal part of the movie. Secondly, by conducting a sociological criticism, it is found that the movie is related to the social condition of America in 1962 and it has correlation with the situation faced by American white and black nowadays.

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Fugitive Fever Screening: Plantation Preoccupations, Screens of Subjection, and Freedom Dreaming in "Antebellum" and "The Underground Railroad"

Flamand

2024

Amerikastudien/American Studies

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American films have long preoccupied themselves with the plantation as a site for staging scenes of subjection and problematic dramas of emancipation. They are usually less invested in historical accuracy than in constructing barely veiled commentaries on contemporary racial politics. As such, uncomfortable questions of spectatorship, complicity, and liberation are often either deflected or sublimated. This work compares two recent iterations in this genealogy, Antebellum (2020) and The Underground Railroad (2021), within the context of the digital streaming platforms through which their consumption is most commonly mediated. While the former treats the plantation as a violent space of exception that erupts inexplicably upon the present and relies heavily on reproducing lurid spectacles in order to service conventional and often perversely comforting genre expectations, the latter maps out pervasive permutations of the plantation while developing a speculative Black aesthetic which contributes to radical traditions of freedom dreaming. Both remain captive to the opportunistic logics of platform capitalism: the most recent iteration of the plantation's permutations.

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Filming Black Voices and Stories: Slavery on America's Screens

Cited by 4 publications

References 35 publications

Forget me not: demarginalising trailblazing and leading Black women’s WEIRD industrial, organisational, and societal career experiences with “power” in the world’s top music industry ecosystems

Forget me not: demarginalising trailblazing and leading Black women’s WEIRD industrial, organisational, and societal career experiences with “power” in the world’s top music industry ecosystems

Intrinsic Elements and Sociological Criticism of Green Book Movie

Fugitive Fever Screening: Plantation Preoccupations, Screens of Subjection, and Freedom Dreaming in "Antebellum" and "The Underground Railroad"

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