MARC Record from marc_columbia

LEADER: 03883cam a2200637 i 4500
001 13885196
005 20190614090127.0
008 170412t20172017maua b 001 0 eng c
010 $a 2017013659
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024 8 $a40027443445
035 $a(OCoLC)ocn982089197
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066 $cZsym
019 $a981980198
020 $a9780674967717$q(hardcover)
020 $a0674967712$q(hardcover)
035 $a(OCoLC)982089197$z(OCoLC)981980198
042 $apcc
043 $an-us---
050 00 $aP94.5.A372$bU559 2017
082 00 $a305.800973$223
100 1 $aLott, Eric,$eauthor.
245 10 $aBlack mirror :$bthe cultural contradictions of American racism /$cEric Lott.
264 1 $aCambridge, Massachusetts :$bThe Belknap Press of Harvard University Press,$c2017.
264 4 $c©2017
300 $axxv, 262 pages :$billustrations ;$c22 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
520 $aBlack Mirror explores the ways U.S. cultural institutions--classic American literature, Hollywood film, pop musical artistry, venturesome social commentary--have relied insistently and repeatedly on racial symbolic capital, including and above all blackface, to reproduce white cultural dominance. In the process these forms have threatened to betray the racial hegemony that generated them and that they exist in order to maintain. Hence the subtitle, The Cultural Contradictions of American Racism. In a series of chapters addressing such arts and artists as Mark Twain, film noir, Joni Mitchell, Elvis impersonators, Bob Dylan, and Barack Obama, Black Mirror locates the symbolic surplus value that accrues to white cultural producers and institutions whenever they traffic in "blackness"--A political economy of the sign that can sometimes surprise us (not least by producing a black president).--$cProvided by publisher.
504 $aIncludes bibliographical references (pages 213-249) and index.
505 0 $aBlack mirror: states of fantasy and symbolic surplus value -- Our blackface America: Mr. Clemens and Jim Crow -- The mirror has two faces: white ethnic semi-mojo -- House of mirrors: the whiteness of film noir -- White like me: racial trans and the culture of civil rights -- Tar baby and the great white wonder: Joni Mitchell's pimp game -- All the king's men: Elvis impersonators and white working-class masculinity -- Just like Jack Frost's blues: masking and melancholia in Bob Dylan's 'Love and theft'.
650 0 $aRacism in mass media.
650 0 $aRacism in popular culture$zUnited States.
650 0 $aWhites$zUnited States$xAttitudes.
650 0 $aBlacks$zUnited States$xPublic opinion.
650 0 $aAfrican Americans in the performing arts$zUnited States.
651 0 $aUnited States$xRace relations.
650 7 $aAfrican Americans in the performing arts.$2fast$0(OCoLC)fst00799740
650 7 $aBlacks$xPublic opinion.$2fast$0(OCoLC)fst00833985
650 7 $aRace relations.$2fast$0(OCoLC)fst01086509
650 7 $aRacism in mass media.$2fast$0(OCoLC)fst01086657
650 7 $aRacism in popular culture.$2fast$0(OCoLC)fst01086660
650 7 $aWhites$xAttitudes.$2fast$0(OCoLC)fst01174817
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
650 7 $aMassenkultur$2gnd
650 7 $aSchwarzenbild$2gnd
650 7 $aRassismus$2gnd
650 7 $aEthnische Beziehungen$2gnd
650 7 $aSchwarze$2gnd
650 7 $aWei€e$2gnd
651 7 $aUSA$2gnd
651 4 $aUnited States.
880 4 $6264-00$c�2017
852 00 $bbar$hP94.5.A372$iU559 2017