Mixed Race Studies

ENGLISH 56N: Mixed Race in the New Millennium: Crossings of Kin, Culture and Faith (Stanford Introductory Seminar)

Stanford University
Winter Quarter, 2011-2012

Michele Elam, Martin Luther King, Jr. Centennial Professor of English and Olivier Nomellini Family University Fellow in Undergraduate Education
Stanford University

Our course examines how literature, theater, graphic art and popular culture shape understandings of contemporary “mixed race” identity and other complex experiences of cultural hybridity. Course explores implications for racial identity, art, and politics for the new millennium.

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Qualitative Interviews of Racial Fluctuations: The “How” of Latina/o-White Hybrid Identity

Communication Theory
Volume 21, Issue 2 (May 2011)
pages 197–216
DOI: 10.1111/j.1468-2885.2011.01382.x

Shane T. Moreman, Associate Professor of Communications
California State University, Fresno

Using qualitiative interviewing, this article exposes the performative moments of the Latina/o-White hybrid social actor (i.e., individuals born of one White parent and one Latina/o parent). This study draws on performance studies theories and concepts to demonstrate how these individuals work within and outside the limitations of today’s U.S. discourse on race and ethnicity. Finding four major themes (i.e., ritual disciplines, body as text, language as text, and institutes of identity), this article provides the tensions of the participants’ mixed positionality yet also points to the imaginative possibilities that can come through communicating such an identity.

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Transcending Blackness in the 21st Century, or How Can I Be Like Barack Obama?

Global Studies: A Member of the International Instutute
University of Wisconsin, Madison
Multiracial Tales and Multicultural Discourses
494 Van Hise Hall
2011-04-18, 17:30 CDT (Local Time)

Ralina L. Joseph, Assistant Professor of Communications
University of Washington

As “postrace” is the buzzword of the new century, and Barack Obama has quickly become a poster child of the postrace, the question arises: must multiracial African Americans metaphorically transcend blackness in order to achieve success? This talk will critique the notion that mixed-race black subjects function as bridges offering safe passage to a third, interstitial, or hybridized space. I argue that a two-sided stereotype, comprised in the “new millennium mulatta” and the “exceptional multiracial,” has arisen instead through a variety of mediated discourses.

Ralina Joseph is an Assistant Professor of Communication at the University of Washington. Her forthcoming book from Duke University Press entitled Transcending Blackness: Anti-Black Racism and African American Multiraciality from the New Milennium Mulatta to the Exceptional Multiracial investigates 1998-2008 era pop culture representations of multiracial African Americans.

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Slimy subjects? Barack Obama, Mixed-Race Metaphors & Neoliberal Multiculturalism

The Wilberforce Institute for the Study of Slavery and Emancipation
University of Hull
Oriel Chambers
27 High Street, Hull, HU1 1NE [Map]
Thursday, 2010-12-02, 16:30-18:00Z

Daniel McNeil, Lecturer in Media and Cultural Studies
University of Newcastle

Public Lecture.  For more information, click here.

Multiracial representations: Nishime examines Battlestar Galactica

University of Washington
Department of Communications
2010-11-15

Amanda Weber

LeiLani Nishime, Assistant Professor of Communication, is a self-proclaimed science fiction fan, so it seemed natural to her to set her research sights on the TV series Battlestar Galactica. Although science fiction is generally a genre about the future, it often reflects current social issues. Nishime is a scholar on multiracial and interracial studies, Asian American media representations, and Asian American subcultural production. In her study, “Aliens: Narrating U.S. Global Identity Through Transnational Adoption and Interracial Marriage in Battlestar Galactica,” she identifies visual and narrative representations of multiracial people…

Read the entire article and watch a short video clip here.

Appropriating the One-Drop Rule: Family Guy on Reparations

Enculturation: A Journal of Rhetoric, Writing, and Culture
Volume 7: Open Issue (2010)

Jason Jones
University of Washington

The one-drop rule, or the notion that one drop of African blood renders a person black, once played a vital role in the expansion of the nineteenth-century American slave population and segregation under Jim Crow. Media, communication, and rhetorical studies, however, have yet to consider the extent to which the one-drop rule continues to function in contemporary American discourse on race. There are, nonetheless, scholars in other fields who have turned a critical eye to the one-drop rule and the ways Americans have taken up or challenged the one-drop rule in their language. Ronald Sundstrom studied the obstacles multiracial individuals have encountered in their efforts to assert their multiracial identities in the face of various parties who deny such identities on grounds informed by the one-drop rule and other perspectives that refuse the existence of mixed race (110-116). Joshua Glasgow and his colleagues performed an experiment in which participants were asked to racially classify a woman who looked white and self-identified as such, but discovered that she had a black ancestor; the overwhelming majority of participants categorized her as white (64). However, as Glasgow went on to point out, many Americans identify President Barack Obama as black despite common knowledge of his white mother. Given such observations, it is clear that there are vestiges of the one-drop rule in American racial discourse. But as Michel de Certeau explained, people appropriate discourses to achieve ends that do not always coincide with the ideological implications originally associated with some facet of language use (48). Being no exception, the one-drop rule no longer works to expand the ranks of dehumanized chattel nor does it serve as grounds for the legal removal of peoples from segregated areas, yet many still rely on it, though less rigidly, to identify some biracial Americans as black. The one-drop rule’s discursive utility, however, is not confined to regressive forms of racial identification and has been used for other strategic purposes as is the case in an episode of Seth MacFarlane’s Emmy-nominated Family Guy (“Peter Griffin…”) that parodies the slavery reparations debate, a veritable minefield for anyone willing to partake in the dispute…

Read the entire article here.

Reducing Race: News Themes in the 2008 Primaries

The International Journal of Press/Politics
Volume 15, Number 4 (October 2010)
pages 375-400
DOI: 10.1177/1940161210372962

Catherine R. Squires, Cowles Professor of Journalism, Diversity and Equality
University of Minnesota

Sarah J. Jackson
University of Minnesota

This article presents a content analysis exploring how racial issues were addressed in newspaper and news magazine coverage of the 2008 Democratic primaries. Despite the presence of Latino and biracial candidates, discussion of race was limited by binary racial frames, resulting in the construction of racial groups as competing voting blocs (including frequent references to white voters) and few references to Barack Obama’s biracial heritage. The dominant framing constricted the range of racial issues to matters of interpersonal insensitivity and misguided statements and ignored matters of public policy and racial equity.

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Fire and Desire: Mixed-Race Movies in the Silent Era

University of Chicago Press
February 2001
352 pages
36 halftones  6 x 9
Cloth ISBN: 9780226278742
Paper ISBN: 9780226278759

Jane M. Gaines, Professor of Film Studies
Columbia University School of the Arts

Winner of the Katherine Singer Kovacs Award

In the silent era, American cinema was defined by two separate and parallel industries, with white and black companies producing films for their respective, segregated audiences. Jane Gaines’s highly anticipated new book reconsiders the race films of this era with an ambitious historical and theoretical agenda.

Fire and Desire offers a penetrating look at the black independent film movement during the silent period. Gaines traces the profound influence that D. W. Griffith’s racist epic The Birth of a Nation [(1915)] exerted on black filmmakers such as Oscar Micheaux, the director of the newly recovered Within Our Gates [(1920)]. Beginning with What Happened in the Tunnel [(1903)], a movie that played with race and sex taboos by featuring the first interracial kiss in film [View the short film (00:01:02) by Thomas Edison from 1903-11-06 here.], Gaines also explores the cinematic constitution of self and other through surprise encounters: James Baldwin sees himself in the face of Bette Davis, family resemblance is read in Richard S. Roberts’s portrait of an interracial family, and black film pioneer George P. Johnson looks back on Micheaux.

Given the impossibility of purity and the co-implication of white and black, Fire and Desire ultimately questions the category of “race movies” itself.

Table of Contents

• List of Illustrations
• Acknowledgments
• Note on Film Dates
• Introduction – The “Race” in Race Movies
• 1. “Green Like Me”
• 2. Desiring Others
• 3. Race Movies: All-Black Everything
• 4. World-Improving Desires
• 5. Fire and Desire
• 6. The Body’s Story
• 7. Race/Riot/Cinema
• Conclusion – Mixed-Race Movies
• Notes
• Index

The Mulatto Cyborg: Imagining a Multiracial Future

Cinema Journal
Volume 44, Number 2 (Winter, 2005)
pages 34-49

Leilani Nishime, Assistant Professor of Communications
University of Washington

Applying the literature of passing to cyborg cinema makes visible the politics of cyborg representations and illuminates contemporary conceptions of mixed-race subjectivity and interpolations of mixed-race bodies. The passing narrative also reveals the constitutive role of melancholy and nostalgia both in creating cyborg cinema and in undermining its subversive potential.

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The New Hollywood Racelessness: Only the Fast, Furious, (and Multiracial) Will Survive

Cinema Journal
Volume 44, Number 2, Winter 2005
pages 50-67

Mary C. Beltrán, Associate Professor of Media Studies
University of Texas, Austin

This article interrogates the rise of the “multiculti” action film and the casting of multiracial actors as Hollywood action film protagonists. These trends are examined in light of shifts in U.S. ethnic demographics and youth-oriented popular culture.

Recent Hollywood films such as Romeo Must Die (Andrzej Bartkowiak, 2000) and The Fast and the Furious (Rob Cohen, 2001) are notable for their multiethnic casts and stylized urban settings. Correspondingly, the key to the survival of the protagonists in these “multiculti” action narratives is their ability to thrive in environments defined by cultural border crossings and pastiche. Perhaps not coincidentally, the heroes who command these environments increasingly are played by biracial and multiethnic actors, such as Vin Diesel in The Fast and the Furious and XXX (Rob Cohen, 2002) and Russell Wong, who plays a pivotal role in Romeo Must Die.

This trend reflects contemporary shifts in U.S. ethnic demographics and ethnic identity, while subtly reinforcing notions of white centrism that are the legacy of the urban action movie. In particular, as I shall argue, the new, ethnically ambiguous protagonist embodies contemporary concerns regarding ethnicity and race relations with respect to the nation’s burgeoning cultural creolization and multiethnic population. The analysis presented here shall be situated in the history of Hollywood representations of the multiethnic inner city, as well as in relation to shifts in the country’s ethnic demographics, cultural interests, and popular culture…

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