Amoeblog

Choking Whiteness: Bone aka Housewife (1972)

Posted by Charles Reece, October 10, 2011 03:21am | Post a Comment
bone housewife poster


Given my recent essay on Whiteness in alien invasion flicks, I can't think of a better film example than Larry Cohen's Bone (aka Housewife) that demonstrates the way Whiteness is defined negatively through its imaginary other, Blackness. So here's a review from the past of that movie:

Replace the repressed white male anger of Fight Club with that of the repressed white housewife’s in order to explore the terrain of Jungle Fever and you get the gist of writer/director Larry Cohen’s debut. Instead of fitting squarely within the genre of blaxploitation, the film examines some of the stereotypical representations of the black male which helped make the genre possible to begin with. 

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Mighty White of You: Juxtaposing Cowboys & Aliens and Attack the Block

Posted by Charles Reece, September 12, 2011 09:06am | Post a Comment
What follows is a slightly altered version of a two-part series of posts I recently wrote, now combined as my entry for Pussy Goes Grrr's Juxtaposition Blogathon

juxtaposition blogathon

In the realm of categories, black is always marked as a color [...], and is always particularizing; whereas white is not anything really, not an identity, not a particularizing quality, because it is everything -- white is no color because it is all colors. This property of whiteness, to be everything and nothing, is the source of its representational power.
-- p. 127, Richard Dyer's "White" from The Matter of Images


Reading Dyer's above quoted essay reminded me of the classic Saturday Night Live skit where Eddie Murphy went undercover as a white man to discover what whiteness is really like. He receives a free newspaper, gets cash from a bank without any credit and, once the city bus is free of minorities, the whites have a party. Instead of whiteness being the default or normative position from which every other ethnicity is otherness, Murphy's blackness is the norm and whiteness is seen as excess.

A less ironic and more recent example of what Dyer's getting at is the colorizing of Marvel's superheroes: Nick Fury is black in the films and Ultimate line; the Ultimate version of Peter Parker was killed off and replaced by a half black, half latino kid named Miles Morales; Kingpin was played by a black man in the Daredevil film; and more controversial among the Aryan supremacists was the decision to make the Norse god Heimdall black in the Thor film. The difference here between whiteness and otherness is that Peter Parker isn't first marked as white, second as Spider-Man, but Miles Morales is foremost a mixed ethnicity and secondly a superpowered human. If he were to live with his aunt at a near poverty level, that would be part of his ethnic narrative, whereas it's not really a part of Peter's being white. For Peter, those are qualities which merely help the audience sympathize with his struggle as an individual (they aren't anything but dramatic attributes within a particular narrative). The white narrative, through its dominance, seen as normative, is hidden, only revealed by contrast with what falls outside, or underneath.

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Mighty White of You 2: Attack the Block (2011)

Posted by Charles Reece, September 11, 2011 11:02pm | Post a Comment
 attack the block poster

[Attack the Block] would start like an Abel Ferrara film or a Michael Winner film with this archetypal situation, this deliberately stereotypical situation and then this thing would fall from the sky and everything would change. And you would start the process of humanizing and exploring and dimensionalizing the characters. That was absolutely the inspiration.
-- Writer-Director Joe Cornish

Attack the Block begins with the mugging of a young white woman named Sam by a group of South London teenage thugs in hoodies. In contrast to a "stereotypical situation" from Winner or Ferrara, the process of humanizing the gang was already implicitly underway before the audience learns anything else about the characters: Sam is neither raped nor killed, only loses her purse. That is, thieves are a lot more human than rapists or murderers (e.g., Cary Grant was allowed to play the former in To Catch a Thief, but the studio insisted that Hitchcock absolve Ray Milland of wife killing in Dial M for Murder). Identification won't prove too taxing, since a falling alien disrupts the event, unburdening the empathic bond between audience and the criminals we'll be asked to feel as heroic later on (nevertheless, some still had a problem with the film's anti-heroes). The position of "Whiteness" is, for the present film, about class, the structural haves and have-nots: Sam is a nurse in training with an economic future; the gang members have to take what they need. She'll move away from the area after residency; the gang is stuck there. As with Cowboys & Aliens, the fantasy of extraterrestrial invasion erases the structural conflict, the leftover being what unifies the two represented classes, namely their jointly held humanity. Sam eventually joins her former attackers (the plot if you want it), reasoning that she's safer with them than alone against the (true) aliens.

Mighty White of You: Cowboys & Aliens (2011)

Posted by Charles Reece, August 29, 2011 02:49am | Post a Comment
In the realm of categories, black is always marked as a color [...], and is always particularizing; whereas white is not anything really, not an identity, not a particularizing quality, because it is everything -- white is no color because it is all colors. This property of whiteness, to be everything and nothing, is the source of its representational power.
-- p. 127, Richard Dyer's "White" from The Matter of Images


Reading Dyer's above quoted essay reminded me of the classic Saturday Night Live skit where Eddie Murphy went undercover as a white man to discover what whiteness is really like. He receives a free newspaper, gets cash from a bank without any credit and, once the city bus is free of minorities, the whites have a party. Instead of whiteness being the default or normative position from which every other ethnicity is otherness, Murphy's blackness is the norm and whiteness is seen as excess.

A less ironic and more recent example of what Dyer's getting at is the colorizing of Marvel's superheroes: Nick Fury is black in the films and Ultimate line; the Ultimate version of Peter Parker was killed off and replaced by a half black, half latino kid named Miles Morales; Kingpin was played by a black man in the Daredevil film; and more controversial among the Aryan supremacists was the decision to make the Norse god Heimdall black in the Thor film. The difference here between whiteness and otherness is that Peter Parker isn't first marked as white, second as Spider-Man, but Miles Morales is foremost a mixed ethnicity and secondly a superpowered human. If he were to live with his aunt at a near poverty level, that would be part of his ethnic narrative, whereas it's not really a part of Peter's being white. For Peter, those are qualities which merely help the audience sympathize with his struggle as an individual (they aren't anything but dramatic attributes within a particular narrative). The white narrative, through its dominance, seen as normative, is hidden, only revealed by contrast with what falls outside, or underneath.

Continue reading...