Scripts Of Blackness

Scripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism. In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques—black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)—in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constituted resources, as they provided spectators and participants with new ways of thinking about the Afro-diasporic people who lived or could/would ultimately live in their midst. Those scripts were often gendered and hinged on notions of demonization, exclusion, exploitation, animalization, commodification, sexualization, consensual enslavement, misogynoir, infantilization, and evocative association with other racialized minorities. Scripts of Blackness attempts to grasp the stories that Western Europeans told themselves through performative blackness, and the effects of those fictions on early modern Afro-diasporic subjects.

The geopolitical influence of the United States informs the processes of racialization in Puerto Rico, including the construction of black places. In Scripts of Blackness, Isar P. Godreau explores how Puerto Rican national discourses about race--created to overcome U.S. colonial power--simultaneously privilege whiteness, typecast blackness, and silence charges of racism. Based on an ethnographic study of the barrio of San Antón in the city of Ponce, Scripts of Blackness examines institutional and local representations of blackness as developing from a power-laden process that is inherently selective and political, not neutral or natural. Godreau traces the presumed benevolence or triviality of slavery in Puerto Rico, the favoring of a Spanish colonial whiteness (under a hispanophile discourse), and the insistence on a harmonious race mixture as discourses that thrive on a presumed contrast with the United States that also characterize Puerto Rico as morally superior. In so doing, she outlines the debates, social hierarchies, and colonial discourses that inform the racialization of San Antón and its residents as black. Mining ethnographic materials and anthropological and historical research, Scripts of Blackness provides powerful insights into the critical political, economic, and historical context behind the strategic deployment of blackness, whiteness, and racial mixture.

This book examines the post-1990s African American novels, namely the "neo-urban novel," and develops a new urban discourse for the twenty-first century on how the city, as a social formation, impacts black characters through everyday discursive practices of whiteness. The critique of everyday life in a racial context is important in considering diverse forms of the lived reality of black everyday life in the novelistic representations of the white dominant urban order. African American fictional representations of the city have political significance in that the "neo-urban novel" explores the nature of the American society at large. This book explores the need to understand how whiteness works, what it forecloses, and what it occasionally opens up in everyday life in American society.

Nils Bothmann applies antiessentialist genre theory to study the fusion of the action and the detection genre in the hybrid genre of detAction, focusing on the work of screenwriter and director Shane Black. After providing antiessentialist definitions of all three genres, the author undertakes close readings of Black’s work in order to analyze depictions of race and gender as well as the role of intermediality and genre hybridity in detAction.​

DIVA look at how blackness is represented in entertainment programming in Puerto Rico./div

The Color of Creatorship examines how copyright, trademark, and patent discourses work together to form American ideals around race, citizenship, and property. Working through key moments in intellectual property history since 1790, Anjali Vats reveals that even as they have seemingly evolved, American understandings of who is a creator and who is an infringer have remained remarkably racially conservative and consistent over time. Vats examines archival, legal, political, and popular culture texts to demonstrate how intellectual properties developed alongside definitions of the "good citizen," "bad citizen," and intellectual labor in racialized ways. Offering readers a theory of critical race intellectual property, Vats historicizes the figure of the citizen-creator, the white male maker who was incorporated into the national ideology as a key contributor to the nation's moral and economic development. She also traces the emergence of racial panics around infringement, arguing that the post-racial creator exists in opposition to the figure of the hyper-racial infringer, a national enemy who is the opposite of the hardworking, innovative American creator. The Color of Creatorship contributes to a rapidly-developing conversation in critical race intellectual property. Vats argues that once anti-racist activists grapple with the underlying racial structures of intellectual property law, they can better advocate for strategies that resist the underlying drivers of racially disparate copyright, patent, and trademark policy.