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Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson
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Review
"Finalist for the Theatre Library Association Award for Outstanding Book in Recorded or Broadcast Performance""Williams makes the best theoretical case for descriptive representation for marginalized groups to achieve democratic equality. Her review of democratic theory is both exhaustive and masterful."---Katherine Tate, Annals of the American Academy of Political and Social Sciences"It seems like a long leap to make 'from Lillian Gish to . . . Leonardo Dicaprio and from Uncle Tom to Rodney King,' but in this dazzling, benchmark work . . . Williams does it with panache and enormous insight. . . . This is a vital contribution to American studies as well as film and race studies." (Publishers Weekly)"But the real elegance is in her thinking. . . . [Williams's writing impresses] wherever melodrama lands, it brings the same set of concerns, an Playing the Race Card is at it protean best when it is tracing these from medium to medium."---Lisa Kennedy, Village Voice"For any honest discussion about race relations in America, [Williams] argues, we must first acknowledge the indeterminate influence of melodrama. Conscientiously researched . . . this insightful book is essential for academic libraries and students in film studies." (Library Journal)"In her intellectually rousing book, Playing the Race Card, Williams find the root of [melodramatic] characterizations throughout American popular culture. . . . Such images, she argues, continue to feed attitudes of racial empathy and enmity. . . . With its thought-provoking analysis and textbook scholarship, Playing the Race Card is a . . . passionately crafted book. But Williams greatest contribution may be liberating a discussion of race from the incendiary rhetoric and polemics that accompany such a discourse. She creates a new dialogue about how popular entertainment has fostered racial sympathy as well as mistrust, and how those images still shape us today."---Renee Graham, The Boston Globe"[Williams] dispenses with the cant and silliness that tangles much academic talk about racial matters. . . . Steeped in the details of text and context, she invites the reader to see familiar works in fresh ways. Williams's achievement is to recapture the complexity of our tangled racial history without sanitizing racism."---Jonathan Rieder, New York Times Book Review"Williams offers a fresh and insightful exploration of some of the roots of the American racial dilemma. . . . Well written and persuasively argued." (Choice)"A work that is extremely valuable to historians who wish to enhance the sophistication of their own thinking about teaching with film and other visual media. . . . I believe the author succeeds at what she sets out to do. In such a large, sweeping, and ambitious book as this, that is high praise indeed."---Alecia P. Long, H-Net Reviews"This book would be valuable just for its scholarly insights, sharp contextual readings, well-selected illustrations, and imaginative genealogy of melodramatic practices across various eras. What gives it special urgency is that by locating those moments when new media (print, film, TV, video) were shaping new ways of conceiving race, Williams creates a moving picture of racial melodrama in the United States that manages to connect the polemic of Uncle Tom's Cabin to the . . . televised O. J. Simpson murder trial"---Kurt Eisen, American Literature
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From the Back Cover
"Playing the Race Card possesses all the boldness, high intelligence, and far-reaching revisionism one has come to expect from the author of the brilliant Hard Core and other path-breaking work in film studies. Linda Williams here insists on the general importance of the melodramatic mode to our understanding of the United States' ongoing racial predicament. Her arguments are extremely compelling, not least because she executes them with such thoroughgoing smartness and prodigious learning."--Eric Lott, University of Virginia"Linda Williams's book is a beautifully written, meticulously researched, and conceptually lucid engagement with the genres of painful feeling that organize racial fantasy in the United States. It joins the works of Michael Rogin, Eric Lott, and Ann Douglas as a major statement about the founding conventions of representation and cross-racial encounter in the U.S. twentieth century."--Lauren Berlant, University of Chicago"A tour de force of cultural analysis. The subject of Playing the Race Card is at once urgent and entertaining. Linda Williams's book is poised to do for film studies what Toni Morrison and others have so famously done for American literature: to reveal the ghost in the machine, the role of 'race' in the making of American popular culture."--Susan Gillman, University of California, Santa Cruz"A strikingly accessible book that makes a timely appearance, now that discussions about race and representation have developed a heightened immediacy. Elegantly written and meticulously researched, this book combines scholarly rigor with clarity and insight."--Valerie Smith, University of California, Los Angeles
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Product details
Series: Melodramas of Black and White from Uncle Tom to O.J. Simpson
Paperback: 424 pages
Publisher: Princeton University Press; Revised ed. edition (September 23, 2002)
Language: English
ISBN-10: 069110283X
ISBN-13: 978-0691102832
Product Dimensions:
6 x 1 x 9 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#1,103,811 in Books (See Top 100 in Books)
This is one of the greatest books I have ever read. I'm somewhat interested in film studies but more so interested in race and I found this analysis of the melodramatic depictions of race across the mediums of stage, film, and trials to be very enlightening. One of the greatest things about Linda Williams is that she does not condemn or overpraise. She analyzes everything dialectically. While one might abhor, for instance, blackface minstrelsy that denigrated African Americans, Linda Williams makes the point that it was first through blackface that whites gained a sense of the humanity of blacks, all the while making fun of them.The style of the book is readable. Linda Williams is an intellectual but she manages to make her work accessible to those who have not studied film academically. Familiarity with the concept of modernism would help with the first chapter, but is not necessary. If you have studied Morrison, Fanon, Nietzsche, Benjamin and the other thinkers Linda Williams makes brief references to, you will probably get a richer understanding of this book. However, speaking for someone who is only moderately familiar with those intellectuals, I nevertheless gained a deep understanding of the book. Linda Williams is a very competent writer.
Needed this for a class on race and diversity. Interesting, extremely poignant, even more so now than when I took the class.
This is Film Studies of the first order. Williams takes the idea of melodrama as a mode and intersects it with issues of race and its representation. According to her, in conjuction with the popularity or in the legitimization of a particular medium in American society, the representations of the black male and female bodies take on center stage and gain new significations. The book starts out with Stowe's "Uncle Tom's Cabin" and shows how it stays and strays away from the conventions of the Victorian novel. It then focuses on the Stowe's characterization of the black bodies and how they elicited the sympathy of the readers. Next, it shows how Dixon, with his novel "The Clansmen,' either changes or reverses Stowe's characterizations and themes to elicit another kind of response. However, it is D.W. Griffith's adaptation of the novel, "Birth of the Nation" that had a powerful influence in the society's imagination. Not only did the film legitimize the medium as an art form, it also gave the public a new way of understanding race relations in America. The book covers both the novel and the movie adaptation of "Gone With the Wind" and other cultural texts and ends with the televised trial of O.J. Simpson while keeping on the other eye issues of representation. Linda Williams' project is both multi-disciplinary and multi-media and she weaves them together in a rich study of melodrama as a cultural mode and the ever evolving nature of race relations and representations in our society. She wittily uses Henry James' imagery of the 'leaping fish' to show how melodrama dynamically moves from one medium to the next. Each time it makes an appearance in a big way, it also entails a recasting of black and white or racial representations. Williams achievement lies in her ability to pull together a variety of texts and approaches to engage upon the central issue of race. And she does this in clear, well-written prose. Although this is more like a work of cultural criticism, the book also opens up the possibilities of film studies as a powerful lens or a way of approaching cinema-related queries and dealing with socio-historical matters.
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