Scholarly perspectives on the mixed race experience.
I read the identitarian discourses surrounding Obama differently. The posing of these questions around identity betrays our subconscious recognition that we are not there yet—we remain burdened by a default racial calculus. Even the semantics of being post-racial reveals the persistence of race and racial constructions. We do not even have terminology, let alone the ideological substance, to take us beyond racial fixity. These questions further indicate our quest for a racial healing that we know has not yet been achieved. Hence the racial schizophrenia. We aredeeply conflicted. It is unclear what is reality versus what is merely our distorted perception. It is my ultimate conclusion that our distorted racial perception is our reality.
Using black and white [media] also allowed [Rebecca] Hall to cast Black actresses in the roles. She’s not trying to “fool” anyone into thinking that Negga or Thompson is white, she’s simply trying to turn the film’s deeply metaphorical ideas into a practical experience. The audience will have “very fixed ideas about Tessa Thompson and Ruth Negga’s racial identity,” Hall said, “which gives me a position from which to destabilize those ideas and point out the limits of just reducing them to that one definition.”
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For nearly a decade, the actress-turned-filmmaker tried to get her ambitious Nella Larsen adaptation made. As she tells IndieWire, she knew there was only one way to make it happen.
Every word that first-time feature filmmaker Rebecca Hall uses to describe the genesis of her “Passing” vibrates with intensity. Her first experience reading the Nella Larsen novella she eventually adapted for the black-and-white period piece was like “being in a fever,” the pages flipping by as if she was “slightly possessed.”
More than 13 years after first reading Larsen’s book, Hall has kept up that same passion for the material, enough to propel her through years of denials from Hollywood brass and the distinct possibility that the film would never get made the way she saw it.
Much has been made of Hall’s personal connection to the material — the film, like Larsen’s seminal work, follows the fraught reunion of a pair of friends (Tessa Thompson and Ruth Negga), both of whom are Black, though one of them has crossed the color line and lived her life “passing” as a white woman (Negga as Clare). Hall herself is of mixed racial heritage and her own maternal grandfather “passed” for the majority of his life. But for the long-time actress, Larsen’s slim book spoke even more deeply about much larger ideas…
