By Allison schoen
What styles emerge in media insurance and personality depiction of Southern women and men, blacks and whites, within the years among 1954 and 1976? How do portrayals of the zone and the equivalent rights move remove darkness from the spirit and adventure of the South—and of the state as an entire? In Framing the South, Allison Graham examines the ways that the media, really tv and picture, offered Southerners through the interval of the civil rights revolution.
Graham analyzes depictions of southern race and social classification in quite a lot of Hollywood films—including A Streetcar Named Desire, The 3 Faces of Eve, and A Face within the Crowd from the Nineteen Fifties; later movies like Cool Hand Luke, In the warmth of the Night, and Mississippi Burning; and MGM's Elvis Presley autos. She strains how motion pictures have confronted—or avoided—issues of racism through the years, paralleling Hollywood depictions with the tamer characterization of the likeable "hillbilly" popularized in television's The actual McCoys and The Andy Griffith Show. Graham reinforces the political effect of those fictional representations via analyzing media insurance of civil rights demonstrations, together with the documentary Crisis: in the back of the Presidential Commitment, which mentioned the conflict among Robert Kennedy and Governor George Wallace over the combination of the collage of Alabama. She concludes with a provocative research of Forrest Gump, making a choice on the preferred movie as a retelling of post-World battle II Southern background.
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Extra info for Framing the South: Hollywood, Television, and Race during the Civil Rights Struggle
Just one little, teeny drop and a person’s all Negro,” she says. ” As it turns out, however, Susanna’s “Negro blood” is entirely imaginary, a fantasy manufactured from her childhood wish for a black mother. ” Like the Civil War it mirrors, Susanna’s inner struggle for racial identity ends in calamity: she goes mad and nally commits suicide. ” Like Pinky and other race-conscious lms of the era, Raintree County depicted whiteness as a studied and disingenuous performance, but it went further in its critique by calling into question the notion of an underlying, racialized “self” which enacts the performance in the rst place.
When Will cruelly dashes his son’s hope of ever lling his “big footprint,” Jody collapses in despair and his wife and sister both rush to comfort him. Meanwhile, Clara’s well-bred suitor, Alan, is passionless, almost sexless. “There were all sorts of feminine wiles I was gonna try out on you,” Clara tells him. “’Course, I don’t guess it would have done me any good. ), Texas patriarch Rafe Honecutt’s only legitimate son, Theron, appears sissi ed to his father and is the butt of male humor. ” Unlike the feckless sons of privilege, the working-class man with attitude welcomed the chance to catch the frustrated white woman on the rebound.
Williams’s most desperately and cruelly exiled female character, however, is a woman whose racial purity is inseparable from moral and social ruin. Blanche DuBois’s ight from the ruined Belle Reve in A Streetcar Named Desire mirrors her emotional ight from her own ruined state, much as the poverty-stricken, black-and-white world of Streetcar in many ways mocks Vivien Leigh’s earlier, Technicolored fantasy in Gone With the Wind. The beautiful dream of the old estate has vaporized in the suicide of Blanche’s homosexual husband, “the Grey boy,” and with it the dream of her “lily-white” sensibility.
Framing the South: Hollywood, Television, and Race during the Civil Rights Struggle by Allison schoen