Racial Representation in Film

Cynthia D. Bond, John Marshall Law School, has published Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film , at 11 Texas Review of Entertainment & Sports Law 219 (2010). Here is the abstract.

Within hours of the soul-stirring and nation-lifting election of Barack Obama as president, journalists and pundits were announcing the demise of all prior notions of race in America. Even during the campaign itself, narratives of a "post-racial" America were bandied about. But the historic nature of Obama’s ascendance does not obliterate or transcend the vast history of race and racial representation in America. The representational techniques of the construction of both law and race in popular film are deeply interdependent. Both law and film are story-telling, narrative systems. Race is also a narrative system in which visual representation is key. The significance of the visual apprehension of race is deeply relevant to the legal construction of race as well. (For example, in early citizenship cases and racial “passing” cases which persisted through the latter part of the 20th century.) Since society constructs racial categories in large part by visual identification and experience, all visual media, including film, necessarily participate in the constitution of race. Thus, films do not simply depict supposedly free-standing, objective, racial categories naturalized by the dominant discourse, but instead actually participate in the creation of race. As part of standard Hollywood practice, the mainstream film audience is constructed through identification with a norm of “whiteness.” Since that audience, when viewing a law film, is actively involved in constituting the law as part of its spectatorship, it follows that mainstream films construct law from the perspective of white privilege. The consequences and effects of this cinematic construction of law are many. This article discusses three main effects: 1) the raced construction of the lawyer-hero; 2) the denial or displacement of the law’s role in constructing race and race-based discrimination; and 3) the suppression or revision of politics and political history.

Download the article from SSRN at the link.

Hollywood and the Rhetoric of Race

Cynthia D. Bond, The John Marshall Law School, has published Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film, at 11 Texas Review of Entertainment & Sports Law 219 (2010). Here is the abstract.

Within hours of the soul-stirring and nation-lifting election of Barack Obama as president, journalists and pundits were announcing the demise of all prior notions of race in America. Even during the campaign itself, narratives of a "post-racial" America were bandied about. But the historic nature of Obama’s ascendance does not obliterate or transcend the vast history of race and racial representation in America. The representational techniques of the construction of both law and race in popular film are deeply interdependent. Both law and film are story-telling, narrative systems. Race is also a narrative system in which visual representation is key. The significance of the visual apprehension of race is deeply relevant to the legal construction of race as well. (For example, in early citizenship cases and racial “passing” cases which persisted through the latter part of the 20th century.) Since society constructs racial categories in large part by visual identification and experience, all visual media, including film, necessarily participate in the constitution of race. Thus, films do not simply depict supposedly free-standing, objective, racial categories naturalized by the dominant discourse, but instead actually participate in the creation of race. As part of standard Hollywood practice, the mainstream film audience is constructed through identification with a norm of “whiteness.” Since that audience, when viewing a law film, is actively involved in constituting the law as part of its spectatorship, it follows that mainstream films construct law from the perspective of white privilege. The consequences and effects of this cinematic construction of law are many. This article discusses three main effects: 1) the raced construction of the lawyer-hero; 2) the denial or displacement of the law’s role in constructing race and race-based discrimination; and 3) the suppression or revision of politics and political history.

Download the article from SSRN at the link.

Race and Legal History at the University of Texas

Thomas D. Russell, University of Denver College of Law, has published ‘Keep the Negroes Out of Most Classes Where There Are a Large Number of Girls’: The Unseen Power of the Ku Klux Klan and Standardized Testing at The University of Texas, 1899-1999, as University of Denver Legal Studies Research Paper No. 10-14. Here is the abstract.

The paper’s title is a quotation from The University of Texas registrar nine days after the decision in Brown v. Board of Education. This paper examines 20th-century techniques of racial domination at The University of Texas by crosscutting two narratives.

The first narrative that the paper presents is one of the development of bureaucratic or institutional forms of racial exclusion. The paper describes the university’s efforts to limit the application of the Brown v. Board of Education.

In the immediate years after the United States Supreme Court’s decision in Brown v. Board of Education, The University of Texas developed and instituted entrance exams that university officials knew would exclude a disproportionate number of African-American applicants. Publicly, the university presented the testing as race-neutral. The university stalled post-Brown integration until the exclusionary admissions testing was in place.

An explicit concern of the university in seeking to exclude African-American students during the 1950s was a racialized sexual concern about the university’s white women.

The second narrative is the story of William Stewart Simkins, a law professor at The University of Texas from 1899 to 1929. Professor Simkins helped to organize the Ku Klux Klan in Florida at the conclusion of the American Civil War, and he advocated his Klan past to Texas students.

Like the university registrar during the 1950s, Professor Simkins was explicitly concerned with the sexual defense of white women. Relying upon the analysis of historian Grace Elizabeth Hale, the paper links Professor Simkins’s advocacy of the Klan to the early 20th-century history of lynching and white supremacist violence.

During the 1950s, the memory and history of Professor Simkins supported the university’s resistance to integration. As the university faced pressure to admit African-American students, the university’s faculty council voted to name a dormitory after the Klansman and law professor. The dormitory carries his name to the present day. During this time period, alumni also presented the law school with a portrait of Professor Simkins. Portraits and a bust of Professor Simkins occupied prominent positions within the law school through the 1990s.

The sources for the paper are drawn largely from primary materials of the university’s archives, including the papers of the university’s Board of Regents, Chancellor, President, and faculty committees. The author completed this research during the 1990s while a member of The University of Texas School of Law faculty

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Download the paper from SSRN at the link.

Update: Professor Russell notes coverage of the issue, and discussion of his work, in the Austin American-Statesman, here.

Adrienne Davis on Star Trek and Gran Torino

Adrienne D. Davis has published Film Review: Masculinity & Interracial Intimacy in 'Star Trek' and 'Gran Torino', as Washington University School of Law Working Paper No. 10-03-07. Here is the abstract.

Race has long been a central object of political reflection. The salience of racial difference remains hotly debated, figuring in both “utopian” and “dystopian” visions of America’s political future. If race is a primary configuration of “difference” and inequality in the nation, then intimacy between the races is often construed as either a bellwether of equality and political utopia or a re-inscribing of political dominance, typically represented as sexual predation by men against women. Quite expectedly, these political fantasies and fears are often played out at the multiplex, and we can see them in stark relief in two recent films that seem to have nothing in common, Clint Eastwood’s highly acclaimed but Oscar-snubbed Gran Torino and last summer’s high-octane blockbuster, Star Trek. This film review explores how both films render conventional (white) masculinity as in crisis, threatened by alternative masculine forms. In both films this crisis of masculinity translates into a political one that threatens the values and viability of the community. In both, a carefully negotiated interracial intimacy redeems masculinity, and, in the process, the political future. While interracial intimacy is often configured as heterosexual coupling, in both films, women of color expedite interracial intimacy, but the meaningful and redemptive intimacy is homo-social, between men.

Download the paper from SSRN at the link.

Interracial Relationships

Jason Gillmer, Texas Wesleyan University School of Law, has published "Telling Stories of Love, Sex, and Race." Here is the abstract.

The history of interracial sex is often told from the perspective of either legislatures or lynch mobs. The approach has a certain appeal; it allows us to track the ideological currents of the dominant society, as they ebb and flow from passive acceptance of the practice to outright hostility. But the approach also minimizes the role of the participants, routinely casting them as unimportant players in the overall history of sex and race in this country. In this book chapter, I look at the subject of interracial intimacy from the perspective of the people involved: one story involves a white man and black woman from slavery times, and the other involves a black man and white woman from the turn of the century. The purpose is to add some depth and detail to our understanding of some of these relationships, in the process upending some of our basic assumptions about what they might have been like. Indeed, by shining a light on individual cases, we begin to appreciate both the contradictions and complexities of interracial unions, breathing life into a portion of history too often left untold.

Download the paper from SSRN here.

Race, Property, and Gambling in Mark Twain

While I was looking for something else on SSRN, I came across this interesting paper by Naomi Reed.

Naomi Reed, Columbia University, The Wagers of Whiteness, The Wagers of Blackness Gambling and Race in Pudd'nhead Wilson . Here is the abstract.

"The Wagers of Whiteness, The Wagers of Blackness" analyzes the late nineteenth-century erosion of African Americans' newly acquired citizenship rights by turning to the relationship between gambling, property, and slavery in Mark Twain's Pudd'nhead Wilson (1894). Tom Driscoll's ever-present gambling debts turn him into a thief, and his thefts not only make him unfit to inherit the Driscoll fortune, but also ultimately unmask him as, in Twain's words, "a negro and a slave." Tom's thefts come to constitute blackness as the theft of whiteness, and the novel thus renders racial difference visible through property relationships. This connection prompts a reinterpretation of Plessy v. Ferguson specifically as a property claim: Homer Plessy argued that segregation deprived him of the property of his reputation of being a white man. Juxtaposing Plessy's denied property claim to the Supreme Court's commitment at the close of the nineteenth century to the protection of property rights, this paper shows how race remained articulated in and through a language of property even as biological discourses about racial difference came to the fore.

Download the paper from SSRN here.