Mixed Race Studies

Scholarly perspectives on the mixed race experience.

Race mixture or miscegenation excited considerable scholarly interest and public indignation in the continental United States during the early twentieth century. According to the 1910 census, the number of self-identifying “mulattoes” in the U.S. population had risen to two million, more than 20% of African Americans. This development prompted concern among some white social theorists. In 1918, Madison Grant (1918) predicted the passing of the great white race: “mongrelization” across the globe was leading to dilution and degeneration. A few years later, Lothrop Stoddard (1921) echoed Grant’s predictions. Through the 1920s and 1930s, marriage between African Americans and European Americans remained illegal in more than 40 states but not in the insular territories (Hollinger 2003; Kennedy 2003; Moran 2001; Pascoe 1996; Sollors 2000; Spickard 1989; Williamson 1980). In 1924, Virginia promulgated the “one-drop” rule to define more rigidly the boundaries of white identity. The following year, Leonard “Kip” Rhinelander scandalized New York when he sued Alice Jones for passing as white and deceptively luring him into marriage. Black men accused of lustful behavior toward white women were still being lynched in the South. In 1935, the African American intellectual W. E. B. DuBois observed that fear of race mixing was “the crux of the so-called Negro problem in the United States” (DuBois 1980 [1935]:99). Nonetheless, in places such as Harlem, New York, a self-conscious and assertive “mulatto” culture emerged during this period (Huggins 1973; Watson 1995).

Warwick Anderson, “Racial Hybridity, Physical Anthropology, and Human Biology in the Colonial Laboratories of the United States,” Current Anthropology, Volume 53, Number S5 (April 2012): S95-S107. http://dx.doi.org/10.1086/662330.

Beyond Visible: Gina Prince-Bythewood on the Necessity of Black Women’s Cinema

Posted in Articles, Arts, Autobiography, Interviews, Media Archive, United States, Women on 2022-03-16 02:00Z by Steven

Beyond Visible: Gina Prince-Bythewood on the Necessity of Black Women’s Cinema

The Criterion Collection
2021-10-15

Rebecca Carroll

There is a gloriously unaffected vibe about Gina Prince-Bythewood. Cerebral and sublime, casually beautiful and laser-focused, she has written and directed impressive television and film for the past twenty-plus years with equal parts rigor and joy. And she has achieved all this without losing her sense of self as a Black woman in America, and while continuing to fight to get personal projects made in Hollywood.

Prince-Bythewood has recently reached new heights by becoming the first Black woman to direct a major comic-book movie. That film—The Old Guard, starring KiKi Layne and Charlize Theron—premiered on Netflix in the summer of 2020, at the peak of the pandemic, to widely favorable reviews. Prince-Bythewood, though, is still best known for writing and directing her 2001 feature debut, Love & Basketball, which tells the indelibly original story of a young Black woman ballplayer. The film is not just a love letter to basketball but a paean to the complexity, ambition, and perseverance of Black womanhood. After writing for shows like A Different World and Felicity, Prince-Bythewood went on to direct for TV, including episodes of Girlfriends and Everybody Hates Chris. She returned to the big screen in 2008 with The Secret Life of Bees, and again in 2014 with Beyond the Lights, which is when we first met.

I had known and admired Gina’s work; I don’t know a single Black woman who did not obsess over the love scene in Love & Basketball set to Maxwell’s “This Woman’s Work.” But Beyond the Lights, from the opening scene, hit different. Here was the story of a young Black girl with a white mother who couldn’t see her daughter outside of her own white gaze. It echoed my own experience. I reviewed the film for an online blog and then requested an interview with Gina, which very quickly turned into a conversation that felt uncannily familiar. We were born within a month of each other, in 1969, and were both adopted into white families three weeks after being born. We had both spent our youth navigating all-white environments, desperately in search of a reflection of ourselves. We both turned to storytelling as a career path and a way to make sense of that experience.

Gina has written herself into the narrative—in the movies she’s brought to the screen, the family she’s made, and the world she’s created around her. In celebration of the new Criterion edition of Love & Basketball, we got together to catch up, reflect, and get into it…

Read the entire interview here.

Tags: adoption, Criterion Collection, Gina Prince-Bythewood, Rebecca Carroll, The Criterion Collection

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Mixed Race Studies

Beyond Visible: Gina Prince-Bythewood on the Necessity of Black Women’s Cinema

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