Mixed Race Studies

Equivocal Subjects: Between Italy and Africa—Constructions of Racial and National Identity in the Italian Cinema

Bloomsbury Continuum
2012-05-10
328 pages
Hardcover ISBN: 9781441190437

Shelleen Greene, Assistant Professor of Digital Studio Practice and Theory
University of Wisconsin, Milwaukee

A thorough study of the portrayal of race in Italian cinema, from the silent era to the present, illuminating issues in contemporary Italian society.

Equivocal Subjects puts forth an innovative reading of the Italian national cinema. Shelleen Greene argues that from the silent era to the present, the cinematic representation of the “mixed-race” or interracial subject has served as a means by which Italian racial and national identity have been negotiated and re-defined. She examines Italy’s colonial legacy, histories of immigration and emigration, and contemporary politics of multiculturalism through its cultural production, providing new insights into its traditional film canon.

Analysing the depiction of mixed-race subjects from the historical epics of the Italian silent “golden” era to the contemporary period, this enlightening book engages the history of Italian nationalism and colonialism through theories of subject formation, ideologies of race, and postcolonial theory. Greene’s approach also provides a novel interpretation of recent developments surrounding Italy’s status as a major passage for immigrants seeking to enter the European Union. This book provides an original theoretical approach to the Italian cinema that speaks to the nation’s current political and social climate.

Table of Contents

• Introduction
• Chapter 1: From “Making Italians” to Envisioning Postcolonial Italy
• Chapter 2: From Meticci and the “Challenging Realisms” of the Colonial Melodrama to a Postcolonial Consciousness
• Chapter 3: The Negotiation of Interracial Identity, Citizenship and Belonging in the Post-War Narrative Film and Beyond
• Chapter 4: Transatlantic Crossings: Re-encountering Blackness in the Cinema of the “Economic Miracle”
• Chapter 5: Zummurud in her Camera: Pier Paolo Pasolini and the Global South in Contemporary Italian Film
• Conclusion
• Filmography
• Bibliography
• Index

Equivocal subjects: The representation of mixed-race identity in Italian film

University of California, Irvine
2007
226 pages
AAT 3296258
ISBN: 9780549410775

Shelleen Maisha Greene, Assistant Professor of Conceptual Studies
University of Wisconsin, Milwaukee

My dissertation seeks to establish a critical framework for the analysis of mixed-race subjects in Italian film. Within the Italian context, mixed-race subjects emerged out of the colonial conditions stemming from the nation’s occupation and settlement of its east African colonies beginning in the nineteenth century. However, racial mixture has also served as a metaphor for the internal division of Italy between North and South, a historical formation that arguably allows for the development of analytics, such as the “Southern Question,” by which to essentialize a racially heterogeneous population. Through an examination of four historically contextualized films, I examine the presentation of mixed-race subjects in Cabiria (1914), Sotto la croce del sud (1938), Il Mulatto (1949/1951), and Il fiore delle mille e una notte (1974). I argue that the mixed-race subject is a constitutive element of the Italian cinema, a figure that serves as a nodal point for the intersection of conceptions of race and the nation.

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The Transformation of U.S. Racial and Ethnic Identities in Global Media

Contact Spaces of American Culture: LOCALIZING GLOBAL PHENOMENA
36th International Conference of the Austrian Association for American Studies (AAAS)
Department of American Studies, University of Graz
2009-10-22 through 2009-10-25

Shelleen Greene, Assistant Professor of Digital Studio Practice and Theory
University of Wisconsin, Milwaukee

Through an analysis of the DreamWorks SKG 2008 release Tropic Thunder, this essay investigates how the rhetoric of race and ethnicity in U.S. films is influenced and transformed through their circulation within the global film market. Engaging Arjun Appardurai’s work on
global culture in the digital era, in particular his model of the mediascape, or the production and distribution of images through electronic media platforms that are used to create “imagined worlds”, “narratives of the other” and “protonarratives of possible lives”, I examine contemporary “Hollywood” films that speak not only to industrial shifts, such as film financing as well as film productions across national boundaries, but also to the ways these new circulations lead to a re-consideration of racial and ethnic identities that are no longer bound to the nation-state. Tropic Thunder garnered media attention and controversy for its use of blackface performance. However, I argue that while the film’s reception was mired in discussion of the historical legacy of racial stereotypes in American film, the broader implications of Tropic Thunder’s critique of Hollywood’s hegemonic role within global cinema has remained unexamined. As a pastiche of the Vietnam War film and a satire of the Hollywood film industry, I suggest that Tropic Thunder’s use of blackface performance must be read in light of the film’s ruminations on American cultural imperialism. The film’s meditation on the role of Hollywood in the global film industry can be read through a comparison of the film’s explicit blackface performance (Robert Downey Jr.) and what can be considered its performance of racial drag in the character of Les Grossman (Tom Cruise). Ultimately, films such as Tropic Thunder index a shift in the reception and consumption of racial identities due to their dissemination within the global cinema, but also point to the continued use of racial performance and stereotype to sustain the Hollywood industry in a rapidly transforming and highly competitive global film economy.

…Testified by his own tongue-and-cheek portrayal and response to the performance and film overall, it is evident that Downey Jr.’s performance is markedly different from what was the norm of popular American culture some sixty years ago. Not only should we consider changing notions of race brought about by genetic science, proving that one’s racial identity is arbitrarily related to one’s skin color, but also a radical shift in the American political, social and cultural landscape that has seen the rise and fall of affirmative action, the first census to allow a “mixed-race” designation, and the acknowledgement of race as a construct. We find ourselves in the era of self-reflexive racial performance, as seen in the comedic work of Dave Chappelle, or the emblematic and troubling figure of post-race, Michael Jackson. “Race” is no longer taken as an inherent quality of the subject, but one that can be performed or produced through surgical procedure. That Robert Downey Jr.’s performance speaks to these shifts in the popular conceptualization of race is not surprising…

Read the entire paper here.