{"title":"D 'Souza的《2016:奥巴马的美国》中的黑人弗兰肯斯坦","authors":"Michael G. Lacy","doi":"10.1080/15295036.2022.2147972","DOIUrl":null,"url":null,"abstract":"ABSTRACT This essay offers a critical rhetorical analysis of neoconservative filmmaker Dinesh D'Souza's popular political documentary film, 2016: Obama's America. I argue that the documentary's narrative emulates conservative Black Frankenstein stories, whereby a monstrous black slave revolts against his white slave owner, justifying a violent white backlash to restore white supremacy [Young, E. (2008). Black Frankenstein: The making of an American metaphor. New York: New York University Press]. Obama's America re-presents overt and inferential antiblack racist caricatures that depict President Obama as a ruling mixed mulatto monstrosity determined to destroy America. I argue that D'Souza's documentary aimed to revive extreme white conservative resistance to Obama's presidency, specifically by equating Obama's 2012 re-election with America's looming economic collapse and escalating threats of Islamist terrorism. To deflect racist accusations, D'Souza adopts a journalistic persona and re-presents a colonial narrative, which suggests that racism and colonialism no longer exist, thereby sanitizing and idealizing contemporary America neocolonialism. Finally, I argue that the popular conservative depictions of Obama as a menacing mulatto monster destroying America were precursors of a white backlash against America's first black U.S. president and his multicultural coalition, culminating in Donald Trump's presidential victory in 2016.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.1000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Black Frankenstein in D’Souza’s 2016: Obama’s America\",\"authors\":\"Michael G. Lacy\",\"doi\":\"10.1080/15295036.2022.2147972\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT This essay offers a critical rhetorical analysis of neoconservative filmmaker Dinesh D'Souza's popular political documentary film, 2016: Obama's America. I argue that the documentary's narrative emulates conservative Black Frankenstein stories, whereby a monstrous black slave revolts against his white slave owner, justifying a violent white backlash to restore white supremacy [Young, E. (2008). Black Frankenstein: The making of an American metaphor. New York: New York University Press]. Obama's America re-presents overt and inferential antiblack racist caricatures that depict President Obama as a ruling mixed mulatto monstrosity determined to destroy America. I argue that D'Souza's documentary aimed to revive extreme white conservative resistance to Obama's presidency, specifically by equating Obama's 2012 re-election with America's looming economic collapse and escalating threats of Islamist terrorism. To deflect racist accusations, D'Souza adopts a journalistic persona and re-presents a colonial narrative, which suggests that racism and colonialism no longer exist, thereby sanitizing and idealizing contemporary America neocolonialism. Finally, I argue that the popular conservative depictions of Obama as a menacing mulatto monster destroying America were precursors of a white backlash against America's first black U.S. president and his multicultural coalition, culminating in Donald Trump's presidential victory in 2016.\",\"PeriodicalId\":47123,\"journal\":{\"name\":\"Critical Studies in Media Communication\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.1000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Critical Studies in Media Communication\",\"FirstCategoryId\":\"98\",\"ListUrlMain\":\"https://doi.org/10.1080/15295036.2022.2147972\",\"RegionNum\":2,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"COMMUNICATION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Studies in Media Communication","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1080/15295036.2022.2147972","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"COMMUNICATION","Score":null,"Total":0}
Black Frankenstein in D’Souza’s 2016: Obama’s America
ABSTRACT This essay offers a critical rhetorical analysis of neoconservative filmmaker Dinesh D'Souza's popular political documentary film, 2016: Obama's America. I argue that the documentary's narrative emulates conservative Black Frankenstein stories, whereby a monstrous black slave revolts against his white slave owner, justifying a violent white backlash to restore white supremacy [Young, E. (2008). Black Frankenstein: The making of an American metaphor. New York: New York University Press]. Obama's America re-presents overt and inferential antiblack racist caricatures that depict President Obama as a ruling mixed mulatto monstrosity determined to destroy America. I argue that D'Souza's documentary aimed to revive extreme white conservative resistance to Obama's presidency, specifically by equating Obama's 2012 re-election with America's looming economic collapse and escalating threats of Islamist terrorism. To deflect racist accusations, D'Souza adopts a journalistic persona and re-presents a colonial narrative, which suggests that racism and colonialism no longer exist, thereby sanitizing and idealizing contemporary America neocolonialism. Finally, I argue that the popular conservative depictions of Obama as a menacing mulatto monster destroying America were precursors of a white backlash against America's first black U.S. president and his multicultural coalition, culminating in Donald Trump's presidential victory in 2016.
期刊介绍：
Critical Studies in Media Communication (CSMC) is a peer-reviewed publication of the National Communication Association. CSMC publishes original scholarship in mediated and mass communication from a cultural studies and/or critical perspective. It particularly welcomes submissions that enrich debates among various critical traditions, methodological and analytical approaches, and theoretical standpoints. CSMC takes an inclusive view of media and welcomes scholarship on topics such as • media audiences • representations • institutions • digital technologies • social media • gaming • professional practices and ethics • production studies • media history • political economy. CSMC publishes scholarship about media audiences, representations, institutions, technologies, and professional practices. It includes work in history, political economy, critical philosophy, race and feminist theorizing, rhetorical and media criticism, and literary theory. It takes an inclusive view of media, including newspapers, magazines and other forms of print, cable, radio, television, film, and new media technologies such as the Internet.
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