Pub Date : 2023-10-16DOI: 10.1080/09502386.2023.2261963
Ta’Les Love
ABSTRACTTelevision networks, in partnership and collaboration with streaming platforms, are now increasingly using nostalgia themed programming to captivate diverse audiences. To meet the growing calls for diverse representation, many of these shows retell the history and events of Black America during the Reagan period, drawing on post-soul aesthetics and culture. Further, streaming services have made a conscious effort to acquire rights to older Black sitcoms, enabling Black audiences to relive the memories attached to post-soul media. Using textual analysis of FX dramas Snowfall and POSE, this paper analyses how television programmes invoke post-soul aesthetics to produce a distinct and consumable form of Black nostalgia. This results in a competing nostalgia where viewers are unable to disassociate the feel-good moments of a past era from the racial trauma, oppression and discrimination that shaped this same period. While discourse around Blackness and nostalgia should fervently occupy space outside of understandings of structural racism and economic marginalization, this paper argues that television networks and streaming platforms are choosing to produce Black nostalgic programmes that highlight this tension. Therefore, this has led to a resurgence of post-soul-themed programming.KEYWORDS: Black Lives Matterracial memoriestelevision dramas1980sNetflixHulu Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsTa’Les LoveTa’les Love is an Assistant Professor in the Brooks School of Interdisciplinary Studies at Grand Valley State University. Her research interests are situated at the intersections of race, digital media studies and television studies. Dr Love’s work also interrogates mediated representations of Black womanhood and how Black women use social media technologies for community building, entrepreneurship and activism.
{"title":"Streaming Black to the future: post-soul aesthetics & competing Nostalgia in FX’s <i>snowfall</i> and <i>POSE</i>","authors":"Ta’Les Love","doi":"10.1080/09502386.2023.2261963","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261963","url":null,"abstract":"ABSTRACTTelevision networks, in partnership and collaboration with streaming platforms, are now increasingly using nostalgia themed programming to captivate diverse audiences. To meet the growing calls for diverse representation, many of these shows retell the history and events of Black America during the Reagan period, drawing on post-soul aesthetics and culture. Further, streaming services have made a conscious effort to acquire rights to older Black sitcoms, enabling Black audiences to relive the memories attached to post-soul media. Using textual analysis of FX dramas Snowfall and POSE, this paper analyses how television programmes invoke post-soul aesthetics to produce a distinct and consumable form of Black nostalgia. This results in a competing nostalgia where viewers are unable to disassociate the feel-good moments of a past era from the racial trauma, oppression and discrimination that shaped this same period. While discourse around Blackness and nostalgia should fervently occupy space outside of understandings of structural racism and economic marginalization, this paper argues that television networks and streaming platforms are choosing to produce Black nostalgic programmes that highlight this tension. Therefore, this has led to a resurgence of post-soul-themed programming.KEYWORDS: Black Lives Matterracial memoriestelevision dramas1980sNetflixHulu Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsTa’Les LoveTa’les Love is an Assistant Professor in the Brooks School of Interdisciplinary Studies at Grand Valley State University. Her research interests are situated at the intersections of race, digital media studies and television studies. Dr Love’s work also interrogates mediated representations of Black womanhood and how Black women use social media technologies for community building, entrepreneurship and activism.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136112992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-16DOI: 10.1080/09502386.2023.2261949
Nicosia Shakes, Barbara Thelamour
ABSTRACTThe era of streaming services and online distribution of independent films have offered more varied representations of the African Diaspora than were previously available through traditional media. Within this context, Maïmouna Doucouré’s acclaimed 2020 film, Cuties, presents a poignant and nuanced, yet controversial representation of Black immigrant biculturality, girlhood, and puberty. In this essay, we engage with Cuties through the lens of nostalgia as an escape from uncomfortable realities. Set in France, the film centres the immigrant experience. The protagonist Aminata (Amy), a French-Senegalese preteen, witnesses her mother’s sadness at her husband’s impending wedding. Amy embarks on a journey of body agency and rage that demonstrates her navigation between cultures. We critically engage with how Amy disrupts her mother’s and community’s immigrant nostalgia: a longing and idealizing for the culture of their homeland in opposition to the dominant culture of their adopted country. We also examine how the U.S. release of Cuties on Netflix got caught, perhaps unintentionally, in the crosshairs of a U.S. culture war. The marketing for Cuties presented a sexualized, feel-good depiction of the girls in the film which distracted from Doucouré’s true aim of depicting the rage of girlhood and the negative influences of sexualized popular culture, hypervisibility, and imagery on adolescent girls. We consider this backlash from the perspective of nostalgia as well: We unpack how this controversy reflects some Black viewers’ desire for a ‘return’ to polite and tame filmic representations of Black girls. Despite Doucouré’s efforts to explain herself and sympathetic critics’ campaign to defend the film, there was some preoccupation with the young girls’ display of sexuality. We perceive Doucouré as challenging audiences to stay present in the challenges facing young Black girls, particularly as they are increasingly exposed to online models of sexuality and femininity.KEYWORDS: NostalgiaimmigrationAfro-Frenchsocial mediagirlhoodfilm Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The original French title is Atlantique.2 For the African diaspora, those push/pull factors include government overturn, natural disasters, economic opportunity, and receiving countries' immigration and refugee policies. See Dodson (Citation2014).3 The English translation loses some of the meaning in the original French, which literally translates to The Black Girl from or The Black Girl of. As Allison Conner (Citation2017) notes, the original French signifies ‘both roots and possession.’4 Johnson defines ‘flesh dance’ as ‘a choreographic/sonic coupling through which hip hop lyrics direct black women to move in sexually mimetic ways.’ (p. 155). Flesh dance is a type of instructional dance, which is a genre of social dance, performed to songs that specify how to do the dance.5 These racist inventions around the bodies of Black/A
摘要流媒体服务和独立电影在线发行的时代为非洲侨民提供了比以前通过传统媒体提供的更多样化的表现形式。在这种背景下，Maïmouna doucour<s:1>备受赞誉的2020年电影《美女》(Cuties)对黑人移民的双重文化、少女时代和青春期进行了尖锐而细致的描绘，但也引起了争议。在这篇文章中，我们通过怀旧的视角来看待Cuties，以逃避令人不安的现实。影片以法国为背景，以移民经历为中心。主人公阿米娜塔(艾米饰)是一名法裔塞内加尔少女，她目睹了母亲在丈夫即将举行的婚礼上的悲伤。艾米踏上了身体代理和愤怒的旅程，展示了她在不同文化之间的导航。我们批判性地探讨了艾米是如何打破她母亲和社区的移民怀旧情结的:一种对祖国文化的渴望和理想化，与他们收养的国家的主流文化相对立。我们还研究了Netflix在美国发行的《甜心》是如何(也许是无意中)陷入美国文化战争的十字准星的。《美女》的市场营销呈现了一种性感的、自我感觉良好的女孩形象，这偏离了杜cour<s:1>描绘少女时代的愤怒以及性感的流行文化、超高曝光率和形象对青春期女孩的负面影响的真正目的。我们也从怀旧的角度来考虑这种反弹:我们揭示了这种争议如何反映了一些黑人观众对黑人女孩礼貌和驯服的电影表现的“回归”的渴望。尽管杜库丽努力为自己辩解，同情她的影评人也为这部电影辩护，但还是有一些人对年轻女孩的性表现感到担忧。我们认为doucour<s:1>是在挑战观众，让他们面对年轻黑人女孩所面临的挑战，尤其是当她们越来越多地接触到网络上的性和女性模特时。关键词:怀旧、移民、非裔法国人、社交媒体、少女时代、电影披露声明作者未发现潜在的利益冲突。注1原法文标题为《大西洋》。2对于散居海外的非洲人来说，这些推/拉因素包括政府推翻、自然灾害、经济机会以及接收国的移民和难民政策。参见Dodson (Citation2014)英译本失去了法语原文的一些意思，法语原文直译为《来自的黑人女孩》或《来自的黑人女孩》。正如Allison Conner (Citation2017)所指出的，法语原文意味着“根和占有”。约翰逊将“肉体舞”定义为“一种舞蹈与声音的结合，通过嘻哈歌词引导黑人女性以性模仿的方式移动。”(第155页)。肉体舞是一种指导性舞蹈，它是社交舞蹈的一种，伴随着指定如何跳舞的歌曲表演这些围绕黑人/非洲妇女尸体的种族主义发明，证实了法国的殖民暴力，包括对萨拉·巴特曼(Sarah Baartman，被称为“霍屯托人的维纳斯”)尸体的剥削和暴力，她是至少两名南非Khoekhoe妇女之一，在整个欧洲的畸形表演中展出，19世纪她在法国去世后，她的尸体被公开解剖，并在mussame de' L ' Homme展出了150年。(见Magubane Citation2001;米切尔Citation2018)。6特蕾莎·布莱恩，参议员。泰德·克鲁兹称《小可爱》让11岁女孩变得性感，呼吁联邦调查儿童色情内容。《纽约每日新闻》。2020年9月13日。于2021年11月23日发布。加巴德在2020年9月11日的推特上称这部电影是儿童色情片。https://twitter.com/tulsigabbard/status/13045878335842263057佩妮，南希，“可爱一点都不可爱。”的对话。https://townhall.com/columnists/pennyyoungnance/2020/09/16/nothing-cute-about-cuties-n2576298。Stacey Patton，公开的Facebook帖子，https://www.facebook.com/stacey.patton.9/posts/101578191893210949这条推特就是一个例子:https://twitter.com/Pheonix_Storm/status/1465810191425814529?s=20.10 Nina Monei，博客文章，“Cuties”(及其支持者)失败的黑人女孩。2020年10月7日。https://ninamonei.com/author/ninamonei/。于2021年11月30日生效。Bridget Boakye，博客文章，“《甜心》对散居在外的非洲人来说是一部很重要的电影，但我同意它有问题。2020年10月4日。https://www.boakyeb.com/allposts/2020/9/27/cuties-is-such-an-important-film-for-the-african-diaspora-but-i-agree-that-it-is-problematic。2021年11月30日发布;德安吉洛·华莱士(D’angelo Wallace)，视频《甜心》(Cuties):这部电影让Netflix受到了政府的抨击。2020年9月13日。https://www.youtube.com/watch?v=lGITudIVBE8。doucour<s:1>还表示，在电影拍摄过程中，有一名儿童心理学家在片场，演员们经常被询问。(位选手Citation2020b)。
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Pub Date : 2023-10-11DOI: 10.1080/09502386.2023.2261973
Chih-ming Wang, Zhai Gong
ABSTRACTThis paper provides ethnographic sketches of the struggles of bordered lives – mainland spouses and their families, PRC students and overseas Taiwan – during the pandemic time when their rights to enter or return to overseas Taiwanese was denied as part of the preventive measures against COVID-19. By conducting interviews with mainland spouses from a distance and looking at the discussion of a Facebook group called ‘Overseas Taiwanese COVID-19 Self-Help Group’ as an archival site, we seek to understand and analyse the reasons why their right to enter or return was silenced, discredited, denied and attacked, and used these ethnographic sketches as the basis for explaining the emergence of democratic censorship, a paradox that sadly is part of the living reality in Taiwan. Furthermore, inspired by Michel Foucault’s discussion of raison d’etat as the rationale for the state’s, rather than people’s, survival, we situate democratic censorship in the context of tense China–Taiwan relations and call for the ‘de-Cold Warring’ (Chen Citation2010) of consciousness as the key to save democracy from the spectre of autocracy.KEYWORDS: Mainland spousesPRC students‘Xiao Ming’‘Xiao Hong’Overseas Taiwanese COVID-19 Self-Help Groupraison d’etat Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Situated on the coast of Fujian Province, Kinmen and Matsu are what Szonyi (Citation2008) calls ‘Cold War islands’ that were used as garrisons against China during the Cold War era. Though closer to the Chinese mainland than to Taiwan in distance, they are separated from the Chinese mainland despite deep historical connections of migration. In January 2001, as a signal of the Taiwan–China reconciliation, the travel between Fujian and Kinmen and Matsu was re-established, as part of the attempt to materialize the three ‘direct communications’ – in commerce, travel, and postage – across the Taiwan Strait. The eruption of Covid-19, however, put a halt on this travel in February 2020. It was not resumed until 25 March 2023.2 Taiwan’s cultural anthropologist, Sau-hua Liu notes that naming Covid-19 in Chinese was a tortuous political process: while the original translation was more neutral, since 21 February 2020, the Taiwan government decided using ‘Wuhan Pneumonia’ as its official name in Chinese, subjecting the term to stigmatization and discrimination (Citation2020, p. 21).3 At the initial stage, there were debates about the origin of the virus, and many have pointed to the wet market in Wuhan, though some sources suggested otherwise. Such an association between the virus and Wuhan, and later China, thanks to Donald Trump, has racist implications. See A. Liu (Citation2022); Lynteris (Citation2018).4 According to Article 17 of the “Act Governing Relations between Peoples of the Taiwan Area and the Mainland Area” (《大陸地區與台灣地區人民關係條例》), it takes four stages for mainland spouses to obtain the Taiwanese citizenship: get together (團聚), s
{"title":"‘The end of the common world’: COVID anxieties, bordered lives and democratic censorship in Taiwan","authors":"Chih-ming Wang, Zhai Gong","doi":"10.1080/09502386.2023.2261973","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261973","url":null,"abstract":"ABSTRACTThis paper provides ethnographic sketches of the struggles of bordered lives – mainland spouses and their families, PRC students and overseas Taiwan – during the pandemic time when their rights to enter or return to overseas Taiwanese was denied as part of the preventive measures against COVID-19. By conducting interviews with mainland spouses from a distance and looking at the discussion of a Facebook group called ‘Overseas Taiwanese COVID-19 Self-Help Group’ as an archival site, we seek to understand and analyse the reasons why their right to enter or return was silenced, discredited, denied and attacked, and used these ethnographic sketches as the basis for explaining the emergence of democratic censorship, a paradox that sadly is part of the living reality in Taiwan. Furthermore, inspired by Michel Foucault’s discussion of raison d’etat as the rationale for the state’s, rather than people’s, survival, we situate democratic censorship in the context of tense China–Taiwan relations and call for the ‘de-Cold Warring’ (Chen Citation2010) of consciousness as the key to save democracy from the spectre of autocracy.KEYWORDS: Mainland spousesPRC students‘Xiao Ming’‘Xiao Hong’Overseas Taiwanese COVID-19 Self-Help Groupraison d’etat Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Situated on the coast of Fujian Province, Kinmen and Matsu are what Szonyi (Citation2008) calls ‘Cold War islands’ that were used as garrisons against China during the Cold War era. Though closer to the Chinese mainland than to Taiwan in distance, they are separated from the Chinese mainland despite deep historical connections of migration. In January 2001, as a signal of the Taiwan–China reconciliation, the travel between Fujian and Kinmen and Matsu was re-established, as part of the attempt to materialize the three ‘direct communications’ – in commerce, travel, and postage – across the Taiwan Strait. The eruption of Covid-19, however, put a halt on this travel in February 2020. It was not resumed until 25 March 2023.2 Taiwan’s cultural anthropologist, Sau-hua Liu notes that naming Covid-19 in Chinese was a tortuous political process: while the original translation was more neutral, since 21 February 2020, the Taiwan government decided using ‘Wuhan Pneumonia’ as its official name in Chinese, subjecting the term to stigmatization and discrimination (Citation2020, p. 21).3 At the initial stage, there were debates about the origin of the virus, and many have pointed to the wet market in Wuhan, though some sources suggested otherwise. Such an association between the virus and Wuhan, and later China, thanks to Donald Trump, has racist implications. See A. Liu (Citation2022); Lynteris (Citation2018).4 According to Article 17 of the “Act Governing Relations between Peoples of the Taiwan Area and the Mainland Area” (《大陸地區與台灣地區人民關係條例》), it takes four stages for mainland spouses to obtain the Taiwanese citizenship: get together (團聚), s","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136212339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-11DOI: 10.1080/09502386.2023.2261947
Stephen C. K. Chan, Wang Xiaoming
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Pub Date : 2023-10-10DOI: 10.1080/09502386.2023.2261952
Chun Zhang
ABSTRACTDuring the spring 2022 lockdowns in Shanghai, strict implementation of the Zero Covid policy compelled every person residing in Shanghai to confront the agents of the state and the authority behind them to develop a certain kind of practical consciousness and political sentiment – a political judgment of the dynamic reality in everyday life. During the 2-month lockdown, one witnessed both a surprising level of general compliance, as well as sporadic but widespread civil protests. Through an anthropological case study based on observations collected in the author’s own resident community, this article is an attempt to document the experiences of the residents in Shanghai under the lockdowns while examining their practice of self-governance and collective defiance. In addition, focusing on those who are considered to be ‘middle class’, it also examines how they relied on their professionalism to organize themselves in a state of high anxiety, and to make decisions and take action in a precarious and dynamic situation. It analyzes how they demonstrated a kind of ‘practical consciousness’ that initiated change and fragmentation in the collective will through the process of collective action such as negotiation, conflict, and resolution with those representing the power of the authorities. Ultimately, the political sentiments of the Chinese middle class are analyzed in terms of how they might organize their demands of everyday life into political demands and identify their own power through future collective action.KEYWORDS: Shanghai lockdownmiddle classpractical consciousnesspolitical sentiment Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 As opposed to conceptualizing and simplifying ‘big politics,’ ‘political sentiment’ emphasizes that ‘real political sentiment’ requires making targeted judgments about complex situations and implementing its own principles in dynamic response. It is a political judgment of dynamic reality, rooted in sensitivity to those everyday needs and the ability to organize them into political demands.2 ‘Shanghai Release,’ Official Account, March 27, 2022. The announcement reads: ‘From 5:00 pm on March 28 to 5:00 pm on April 1, the east side of Shanghai (Pudong) will be closed for four days … from April 1 at 3:00, it will be in turn of the west side of the city (Puxi). All residents will be tested several rounds for Covid-19. At 3 o’clock on April 5, all closed areas will be reopened. In the controlled areas, the closed-loop will be organized at the level of household, all residents should stay at home, people and vehicles can only enter without leaving the residential community.’3 As in an item of ‘The Citation2022 Shanghai Covid-Citation19 Outbreak’ on Wikipedia, ‘On March 22, two people posted information on a group chat saying Shanghai was about to perform a ‘city closure’ (Chinese: 封城). The next day, the public security bureau of Shanghai investigated both for the crime
{"title":"Changing ‘practical consciousness’ of Shanghai’s middle class under covid lockdowns: a residential community’s defiance and mobilization","authors":"Chun Zhang","doi":"10.1080/09502386.2023.2261952","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261952","url":null,"abstract":"ABSTRACTDuring the spring 2022 lockdowns in Shanghai, strict implementation of the Zero Covid policy compelled every person residing in Shanghai to confront the agents of the state and the authority behind them to develop a certain kind of practical consciousness and political sentiment – a political judgment of the dynamic reality in everyday life. During the 2-month lockdown, one witnessed both a surprising level of general compliance, as well as sporadic but widespread civil protests. Through an anthropological case study based on observations collected in the author’s own resident community, this article is an attempt to document the experiences of the residents in Shanghai under the lockdowns while examining their practice of self-governance and collective defiance. In addition, focusing on those who are considered to be ‘middle class’, it also examines how they relied on their professionalism to organize themselves in a state of high anxiety, and to make decisions and take action in a precarious and dynamic situation. It analyzes how they demonstrated a kind of ‘practical consciousness’ that initiated change and fragmentation in the collective will through the process of collective action such as negotiation, conflict, and resolution with those representing the power of the authorities. Ultimately, the political sentiments of the Chinese middle class are analyzed in terms of how they might organize their demands of everyday life into political demands and identify their own power through future collective action.KEYWORDS: Shanghai lockdownmiddle classpractical consciousnesspolitical sentiment Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 As opposed to conceptualizing and simplifying ‘big politics,’ ‘political sentiment’ emphasizes that ‘real political sentiment’ requires making targeted judgments about complex situations and implementing its own principles in dynamic response. It is a political judgment of dynamic reality, rooted in sensitivity to those everyday needs and the ability to organize them into political demands.2 ‘Shanghai Release,’ Official Account, March 27, 2022. The announcement reads: ‘From 5:00 pm on March 28 to 5:00 pm on April 1, the east side of Shanghai (Pudong) will be closed for four days … from April 1 at 3:00, it will be in turn of the west side of the city (Puxi). All residents will be tested several rounds for Covid-19. At 3 o’clock on April 5, all closed areas will be reopened. In the controlled areas, the closed-loop will be organized at the level of household, all residents should stay at home, people and vehicles can only enter without leaving the residential community.’3 As in an item of ‘The Citation2022 Shanghai Covid-Citation19 Outbreak’ on Wikipedia, ‘On March 22, two people posted information on a group chat saying Shanghai was about to perform a ‘city closure’ (Chinese: 封城). The next day, the public security bureau of Shanghai investigated both for the crime","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136296346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-08DOI: 10.1080/09502386.2023.2261950
Wang Xiaoming
Click to increase image sizeClick to decrease image size Notes1 See also Shu Haolun’s 2011 documentary Nostalgia (乡愁), about life in Dazhongli, the community in which he grew up—a film he made just before the community was razed for redevelopment.2 Several days after the Wuhan protests, the government announced that shops could reopen, subject to further closure in the event of positive Covid tests.3 For an example of this discourse, see Chuang (Citation2019).
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Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261968
Alexandria Smith
ABSTRACTThis paper argues that the 2017–2019 comedy-drama Netflix series She’s Gotta Have It attempts to rewrite the past represented within the 1986 feature-length film of the same name through its portrayal of Black women’s sexuality. While lauded, the film was met with criticism of Spike Lee’s portrayal of women in the film as ultimately misogynist and homophobic, evidenced by Lee’s decision to show protagonist Nola Darling being punitively raped by one of her sexual partners as well as by the flat and stereotypical construction of the Black lesbian character, Opal Gilstrap. In contrast, the 2017 series introduces us to Nola Darling as a pansexual and polyamorous Black visual artist in a rapidly gentrifying Fort Greene, Brooklyn. This paper identifies sexual politics and self-representational strategies as two sites of nostalgic re-construction in which elements of the past are both reproduced and revised. For instance, Nola’s self-identification as pansexual and her sustained relationship with a reimagined and more robustly characterized Opal illustrate that Nola’s sexual desires are not bound by heteronormativity. At the same time, the series echoes the film in that the primary sexual and romantic conflicts revolve around the ways Nola’s Black femininity is juxtaposed with the Black cis masculinity of her three primary suitors. The use of self-representational strategies, primarily Lee’s signature 4th wall breaking, provides a sense of continuity through its nostalgic callback to Lee’s earlier works, while also allowing Nola to articulate the ‘new’ identities of polyamory and pansexuality which depart from the language used in the ‘86 portrayal. Relatedly, Nola’s work as a visual artist allows the show to prioritize Nola’s perceptions of her lovers and herself. Overall, this paper mobilizes Black feminist, lesbian, and queer analyses in service of identifying and complicating Lee’s efforts to recuperate misogynist and heteronormative gendered portrayals in a contemporary medium.KEYWORDS: Black film and TVfeminist film analysispansexualitySpike LeeBlack nostalgiaNola Darling Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 An article in The Hollywood Reporter briefly frames the Netflix series as an opportunity for Lee to ‘[get] his do-over’ of the She’s Gotta Have It rape scene which Lee acknowledges regretting. (Barboza Citation2017). In an interview with Deadline in 2014 Lee names the She’s Gotta Have It rape scene as ‘stupid,’ ‘immature,’ and ‘his biggest regret.’ He promises, three years before the series’ Netflix debut, that ‘there will be nothing like that in She’s Gotta Have It, the TV show, that’s for sure.’ (Fleming Citation2014)2 The Black femme function, with Ursula as its signal example, refers to how the presence of Black femme characters and figures within cinematic images can allow audiences to see and imagine liberatory possibilities beyond the constraints of normative ‘common sense’ (
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Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261951
Aria Halliday, Ashleigh Greene Wade
ABSTRACTShows like Moesha and Fresh Prince both fictionalized and revealed the twentieth-century dreams of Black folks who like Moesha’s family had just established themselves in Lamert Park or like Will had recently left gang and drug-infested urban streets. Friends like Tony and Joan or Khadijah and Maxine typified the friendships that many Black women had just developed in college settings like A Different World. They dated people like Lynn, Kyle, or Martin and created the material wealth that generations past could not access. These Black cultural productions positioned Black people, their conversations and their aspirations, as part of a larger project of inclusion and made our dreams seem possible. Remembering or engaging anew with Black cultural production of the 1990s and 2000s via streaming platforms re-introduced these dreams and the ways that the ‘too-rough fingers of world’ had made them immaterial. Seeing them again, with our new twenty-first-century eyes, forced us to bring our concerns to social media, to visual art and to music – sites where we continue to think, aspire and work collectively to manifest Black futures. The essays in this special issue then take seriously the complex nuances of remembering Blackly through and beyond these cultural productions. We charged the authors to think critically about nostalgia and how Black cultural production in Western contexts has not only shaped our understanding of contemporary discourses, but also in how we shape the future based on the (remembered) past across Black cultures. We hope that these essays provide further insight into the ways our contemporary moment will continue to shape our present and future renderings of the past. In addition, we envision that the authors’ ideas will affect how we access those pasts. Black nostalgia will mould our understanding of everything we think we remember.KEYWORDS: Nostalgiablacknessfuturepasttelevisionfilm Disclosure statementNo potential conflict of interest was reported by the author(s).
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Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261962
Anna P. Wald
ABSTRACTThis essay asks how the nostalgic attachments to particular Black women’s performances on reality television inform current uses of those images through internet GIFs and memes. Examining the usage and exchange of files depicting the mid-2000s reality television star Tiffany Pollard on Twitter, I compare appropriation of black women’s humour within digital spaces alongside appreciation of ‘bad television’ [McCoy, C.A., and Scarborough, R.C., 2014. Watching “bad” television: ironic consumption, camp, and guilty pleasures. Poetics, 47, 41–59] and the useful potentials of ‘negative’ representation [Gates, R.J., 2018. Double negative: The black image and popular culture. Duke University Press]. Debates about representational politics are complicated when circulating digital images and files that invoke nostalgic response through racialized gendered performances. What does circulation of these GIFs and memes say about nostalgia for a unique moment in reality television where ‘ratchet’ behaviour [Brock, A., 2020. Distributed blackness. New York University Press] was encouraged and the limits of respectability politics were experimented with? Examining how some have labelled exchange of these GIFs as perpetuating ‘digital blackface’ [Jackson, L.M., 2017. We need to talk about digital blackface in reaction GIFs. Teen vogue, 2], I theorize how contemporary accusations of exploiting stereotypical depictions of Black people in order to gain online social capital mirrors the history of American minstrelsy’s purported nostalgia for ‘authentic’ Black performance. As the majority of popular GIFs of Pollard present ‘ugly feelings’ [Ngai, S., 2005. Ugly Feelings. Harvard University Press] such as irritation, resentment and disgust, the relationship between nostalgia for so-called better times, and desire for a recent moment in cable television’s past in which the boundaries of ‘good representation’ were pushed and disregarded become entangled. By looking to animation of disembodied digital images in the use of GIFs as moving image files that are looped, refigured and circulated, I draw attention to new sites of digital racialization, popular culture criticism and examination of digital affect as it corresponds with Black diasporic cultural production.KEYWORDS: Digital blackfaceappropriationdigital affectmemesdigital counterpublicsreality television Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Retrieved from https://twitter.com/chuuzus/status/1338410369547710465 1/10/20212 This account, which I have 6 mutual followers with, but am not personally ‘friends’ with, has 9932 followers as of 1/10/2021.3 Other popular GIFs that depict black women’s performances from reality television include cast members from the Real Housewives of Atlanta and Potomoc, images of Cardi B and other cast members from Love & Hip Hop, and Tyra Banks from America’s Next Top Model. For more on popular memes of black women from reality telev
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Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261959
Francesca Sobande
Drawing on Black media, cultural, and digital studies, this work considers the relationship between nostalgia and the media, cultural productions, and experiences of Black people in Britain. Engaging with Hesse's (2000) work on ‘Diasporicity: Black Britain's Post-Colonial Formations', I explore how media representations of Black Britain and connected production processes have changed since the 90s, in ways entwined with Black nostalgia and generational (be)longing. Since Hesse (2000, p. 97) observed that ‘Black Britishness is a discourse whose increasing currency has yet to be conceptualized seriously', research and writing on Black Britishness and Black life in Britain has significantly expanded. Informed by such work, I delve into some of the details of Black media experiences in Britain to consider how Black nostalgia manifests in and through these contexts. Inspired by Ahad-Legardy's (2021) work on ‘Afro-nostalgia' and how visual culture aids archives of Black ‘historical joy', I consider the digitally mediated, comforting, conflicting, and historical nature of Black media nostalgia in Britain, and Black nostalgia more generally. Such discussion distinguishes between Black people's nostalgic media experiences and Black media nostalgia which centers Black creative expression and the kaleidoscopic gazes of Black audiences. Nostalgia's enigmatic quality cannot be comprehended via empirical analysis, alone. Thus, sculpted by understandings of ‘sociopolitical strategies of presence' (Osei 2019, p. 733), this work conceptualizes Black nostalgia in ways based on key media examples, research interviews, researcher reflections and the possibilities and playfulness presented by influx ponderings. Overall, shaped by Hall's (1993; 1997) work on representation and popular culture, this manuscript yields insights regarding dynamics between nostalgia, media, and Black life in Britain. Such work highlights the need for specificity (e.g., whose gaze(s), geographies, generations) when articulating Black people’s experiences in Britain, and the power of nostalgia in Black media and culture, which spans decades and different devices.
借助黑人媒体、文化和数字研究，本作品考虑了怀旧与媒体、文化产品和英国黑人经历之间的关系。与Hesse(2000)的作品《散失性:黑人英国的后殖民形成》相结合，我探索了自90年代以来，黑人英国的媒体表现和相关的生产过程是如何变化的，这些变化与黑人的怀旧和代际渴望交织在一起。自从Hesse (2000, p. 97)观察到“黑人英国性是一种日益流行的话语，但尚未被严肃地概念化”以来，关于黑人英国性和英国黑人生活的研究和写作已经显著扩大。受这些作品的影响，我深入研究了英国黑人媒体经历的一些细节，以思考黑人怀旧是如何在这些背景下表现出来的。受aad - legardy(2021)关于“非洲怀旧”的作品以及视觉文化如何帮助黑人“历史喜悦”档案的启发，我考虑了英国黑人媒体怀旧的数字媒介、安慰、冲突和历史本质，以及更普遍的黑人怀旧。这种讨论区分了黑人的媒介怀旧体验和黑人媒介怀旧，后者以黑人的创造性表达和黑人观众的万花筒般的目光为中心。怀旧的神秘性质不能仅仅通过实证分析来理解。因此，通过对“存在的社会政治策略”的理解(Osei 2019，第733页)，这项工作以基于关键媒体示例、研究访谈、研究人员反思以及涌入思考所呈现的可能性和趣味性的方式将黑人怀旧概念化。总的来说，霍尔(1993;1997)对代表性和流行文化的研究，这份手稿对怀旧、媒体和英国黑人生活之间的动态产生了深刻的见解。这些作品强调了在阐述黑人在英国的经历时对特殊性的需求(例如，谁的目光、地理位置、世代)，以及黑人媒体和文化中怀旧的力量，这种力量跨越了几十年和不同的设备。
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