Mixed Race Studies

Breeding Unity: Battlestar Galactica’s Biracial Reproductive Futurity

Camera Obscura
Volume 27, Number 3 81 (2012)
pages 1-37
DOI: 10.1215/02705346-1727446

Anne Kustritz, Assistant Professor in Television Studies
University of Amsterdam

While Battlestar Galactica reinvigorated the science fiction genre by representing contemporary political problems in a complex, often radical fashion, the series also makes visible a new articulation of eugenic thinking. Postmodern eugenics repurposes turn-of-the-twentieth-century ideas of racial progress and recombines them with different narratives and ideologies so that audiences may receive them as new and cut off from history. By centering its finale on the survival of one genetically idealized child, Battlestar constructs a new narrative context for an old story that rationalizes the sacrifice of the nonheterosexual, nonreproductive, and nonconformist to build a “better” race. The idealization of biraciality in Battlestar puts eugenic means to modern ends: the biological construction of a future wherein difference can be dealt with in reproductive rather than political terms. Two pieces of fan video art, “Unnatural Selection” and “Battlestar Redactica,” clarify Battlestar‘s complicity in eugenic violence and history, while offering alternative solutions to the moral and narrative impasses of the series. By refusing the genetic stasis Battlestar proposes, these fan video projects invite audiences to continue exploring multiple definitions of survival, hybridity, and cultural transformation, reanimating characters sacrificed in the series on its way to genetic utopia (or dystopia) and thereby resuscitating the multiple, queer, contradictory futures they embodied.

Read or purchase the article here.

Race and the Visual Arts: LAHS-P236

Berklee College of Music
Boston, Massachusetts
Fall 2013

In this course, students explore the representation of race in visual culture and the ways in which culture marks subjects, objects, and bodies with racial identity. Wherever we look we are confronted by images that are explicitly or implicitly racialized—in artistic production, marketing and advertising, film and television, magazines and newspapers, and science and technology. In American society our history confronts us with the painful reminders of the oppression and marginalization of bodies whose color deviates from whiteness. Students explore the ways that visual artists have problematized the representation of racial identity. Students also explore how one “talks back” to images about racialized bodies. How do marketing and advertising exploit and/or privilege certain types of racialized bodies in the visual field? How have representations of racial identity evolved over the course of the history of film and television? When is racial identity foregrounded? When it is veiled and why? How do medicine and technology reconfigure how we see racialized bodies? How do other categories of difference such as gender, sexuality, and class complicate the representation of racialized bodies? In this course, students read texts from history, literature, sociology, Africana studies, visual studies, art history, and cultural studies; they view images of painting, photography, sculpture, performance art, film, television, advertising, and medical research. If you want to think critically about racialized images-from Uncle Tom to Aunt Jemima and beyond-then this is the class for you!

For more information, click here.

Beyond The Chinese Connection: Contemporary Afro-Asian Cultural Production

University Press of Mississippi
2013-05-13
240 pages (approx.)
6 x 9 inches, bibliography, index
Hardback ISBN: 978-1-61703-755-9

Crystal S. Anderson, Associate Professor of English
Elon University, Elon, North Carolina

From Bruce Lee to Samurai Champloo, how Asian fictions fuse with African American creative sensibilities

In this study, Crystal S. Anderson explores the cultural and political exchanges between African Americans, Asian Americans, and Asians over the last four decades. To do so, Anderson examines such cultural productions as novels (Frank Chin’s Gunga Din Highway [1999], Ishmael Reed’s Japanese by Spring [1992], and Paul Beatty’s The White Boy Shuffle [1996]); films (Rush Hour 2 [2001], Unleashed [2005], and The Matrix trilogy [1999-2003]); and Japanese animation (Samurai Champloo [2004]), all of which feature cross-cultural conversations. In exploring the ways in which writers and artists use this transferral, Anderson traces and tests the limits of how Afro-Asian cultural production interrogates conceptions of race, ethnic identity, politics, and transnational exchange.

Ultimately, this book reads contemporary black/Asian cultural fusions through the recurrent themes established by the films of Bruce Lee, which were among the first–and certainly most popular–works to use this exchange explicitly. As a result of such films as Enter the Dragon (1973), The Chinese Connection (1972), and The Big Boss (1971), Lee emerges as both a cross-cultural hero and global cultural icon who resonates with the experiences of African American, Asian American, and Asian youth in the 1970s. Lee’s films and iconic imagery prefigure themes that reflect cross-cultural negotiations with global culture in post-1990 Afro-Asian cultural production.

Dwayne Johnson – ‘Race Shifter’ In A Post Racial World?

Shadow and Act: On Cinema Of The African Diaspora
2013-03-27

Sergio Mims, Staff Writer

We all know that there’s been a lot of talk about how we are all now living in a “post-racial” society. Though I think, most of us will respond to that with a “Yeah right.”

But things are changing, albeit slowly, but they are changing. And it dawned on me last night, during  an advance screening of G.I. Joe: Retaliation, that the one person who could be an example of this post racial utopia we’re supposed to be living in, is Dwayne Johnson.

It should be very obvious by now the Johnson has been positioning himself to be a major A–list movie star. He easily could have just gone on to be a B-movie actor, content with doing supporting roles in action/exploitation films, and starring in direct-to-video movies, like some of his former WWE cohorts. But Johnson has much higher aspirations.

And it’s not just the film projects that he’s attached himself to, but also, either by design or by happenstance, how he’s been perceived racially by the public. He has become a “race shifter” for lack of a better word.

Through his obviously ethnic, but not clearly defined looks (he’s black Canadian/Samoan), he has managed to become “identified” as it were, by different audiences, as different things, and has used that to his advantage.

I should say that, of course, we identify him as black on S & A, or else we wouldn’t always be reporting news about his various film projects. And Johnson has neither ever obscured, or refused to acknowledge his bi-racial heritage, unlike Vin Diesel, who has gone out of his way to not publicly acknowledge his mixed heritage, preferring to instead let people think he’s, perhaps, Italian…

Read the entire article here.

UW communication professor unveils new book about race

The Daily of the University of Washington
2013-02-07

LaVendrick Smith

Ralina Joseph discusses her book cover art at “Troubling the Family and Transcending Blackness” held at the UW bookstore. Photo by Dario Nanbu

Race, reality, and pop culture collide in a new book written by one UW communication professor.

In “Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial,” Ralina Joseph, a UW associate professor of communication, explores how multiracial African Americans were represented in the 10 years leading up to President Obama’s 2008 campaign.

Joseph held a joint book-signing and discussion about mixed-race relations with UW English professor Habiba Ibrahim at the U Book Store Feb. 7.

In “Transcending Blackness,” Joseph compares real-life depictions of multiracial African Americans to their roles in pop culture and politics.

“I’m just sort of interested in seeing how multiracial people have been and are represented,” she said.

Joseph, a multiracial African American herself, said that while researching the topic, she noticed a clear difference in the way multiracial people identify in real life and the way they are identified through the media.

“What I was seeing on TV, in movies, in novels, and memoirs, was not like the kind of complex people I knew in real life,” she said.

She said multiracial African Americans she encounters in real life have fluidity in the way they identify themselves, whereas she saw a constant need to identify mixed race in pop culture in a way that often degraded African Americans…

Read the entire article here.

Al Jazeera America signs Soledad O’Brien as special correspondent

Al Jazeera America
2013-07-01

Al Jazeera America, the new American news channel that will launch in August, today announced that it has signed an agreement with Emmy Award-winning journalist Soledad O’Brien’s production company, Starfish Media Group. O’Brien will contribute short-form segments as Special Correspondent to Al Jazeera America’s primetime current affairs magazine program “America Tonight,” and Starfish will produce hour-long documentary specials.

“O’Brien’s career producing and reporting on the human side of many of the most important stories of the past decade will fit in perfectly with what Al Jazeera America will be covering every day,” said Ehab Al Shihabi, executive director of Al Jazeera’s international operations and the senior executive developing the new channel. “Her dedication to that type of journalism is what makes it so exciting to announce that she and her production company are joining the Al Jazeera America team.”

“I look forward to beginning a relationship with Al Jazeera America, which has made a commitment to producing quality programming and pursuing underreported stories,” O’Brien said. “I am thrilled to be back in business with Kim Bondy, who is a long-time friend and among the finest journalists in the broadcast news business today. With this agreement, Starfish continues its expansion as a cross-platform media company dedicated to compelling storytelling and enterprise journalism.”

…In 2011, O’Brien won her first Emmy Award for “Crisis in Haiti” (on CNN’s Anderson Cooper 360) in the category of Outstanding Live Coverage of a Current News Story – Long Form. She was also a member of the teams that earned CNN a George Foster Peabody award for coverage of the British Petroleum oil spill and of Katrina, and an Alfred I. du Pont Award for its reporting on the Southeast Asia tsunami. In 2010, the National Association of Black Journalists named O’Brien its Journalist of the Year, and the Edward R. Murrow Awards recognized her with the RTDNA/UNITY award for Latino in America.  She received the 2009 Medallion of Excellence for Leadership and Community Service Award from the Congressional Hispanic Caucus Institute…

Read the entire press release here.

‘White House Down’ and Black Presidents on Screen

The New York Times
2013-06-26

Mekado Murphy

At one point in the action thriller “White House Down,” which opens June 28, the president of the United States, played by Jamie Foxx, is trying to thwart a paramilitary group that has overtaken the White House. After swapping his more presidential footwear for basketball shoes, he kicks a bad guy in the face and yells, “Get your hands off my Jordans!”

It’s not a line many Hollywood versions of the leader of the free world would utter: he (it’s usually a he) is often stuffier, a little bland maybe, and most often white. “White House Down,” directed by Roland Emmerich, doesn’t wear the race of its president on its sleeve, but it doesn’t shy away from the fact either. Before President Obama’s election, Dennis Haysbert set the standard for television presidents with his portrayal of David Palmer on “24.” But memorable black commanders in chief have been harder to come by on the big screen. And as with their real-life counterparts, they get their way only some of the time…

Read the entire article here.

Guest: The fury over a Cheerios ad and an interracial family

The Seattle Times
2013-06-24

Ralina Joseph, Associate Professor of Communication
University of Washington

The response to a Cheerios TV ad exposes American discomfort with interracial families, writes guest columnist Ralina Joseph

A RECENT Cheerios television ad has all of the elements that viewers usually glaze over because of their sheer ubiquity: a light-filled, eat-in kitchen with an attractive mother checking off tasks at the table, a button-down shirt and slacks-wearing father indulging in a quick after-work nap and a chubby-cheeked, curly-haired 6-year-old girl with a lisp.

But instead of disappearing into the ether, as TV spots tend to, this particular nuclear family advertisement has sparked such fury that Cheerios’ YouTube channel was forced to disable its comments section.

Why? Because the mother is white, the father is black, and the girl appears to be their biological, mixed-race child…

…Anti-miscegenation laws, on the books in some states in this country from 1661 to 1967, were justified by fear of such couplings and their result. In the 1930s, Washington state led the country in striking down attempts to ban interracial marriage…

Read the entire opinion piece here.

When Cars Assume Ethnic Identities

The New York Times
2013-06-21

Glenn Collins

Coming to a showroom near you for 2014: the first sport utility vehicle in its class equipped with a 9-speed automatic transmission. It’s also the first to offer a parallel-parking feature. And, in 4-wheel-drive models, the rear axle disconnects automatically, for fuel efficiency.

Oh, yes: its name is the Jeep Cherokee.

Hold on — wasn’t that model name retired more than a decade ago? Wasn’t it replaced by the Jeep Liberty for 2002?

Yet now, in a time of heightened sensitivity over stereotypes, years after ethnic, racial and gender labeling has been largely erased from sports teams, products and services, Jeep is reviving an American Indian model name. Why?

“In the automobile business, you constantly have to reinvent yourself, and sometimes it’s best to go back to the future,” said Allen Adamson, managing director of the New York office of Landor Associates, a brand and corporate identity consultancy.

Jeep, a division of the Chrysler Group, explained that its market research revealed a marked fondness for the name. The 2014 version, said Jim Morrison, director of Jeep marketing, “is a new, very capable vehicle that has the Cherokee name and Cherokee heritage. Our challenge was, as a brand, to link the past image to the present.”

The company says it respects changed attitudes toward stereotyping. “We want to be politically correct, and we don’t want to offend anybody,” Mr. Morrison said. Regarding the Cherokee name, he added: “We just haven’t gotten any feedback that was disparaging.”

Well, here’s some: “We are really opposed to stereotypes,” said Amanda Clinton, a spokeswoman for the Cherokee Nation in Oklahoma. “It would have been nice for them to have consulted us in the very least.”

But, she added, the Cherokee name is not copyrighted, and the tribe has been offered no royalties for the use of the name. “We have encouraged and applauded schools and universities for dropping offensive mascots,” she said, but stopped short of condemning the revived Jeep Cherokee because, “institutionally, the tribe does not have a stance on this.”…

Read the entire article here.

For some, Cheerios commercial crossed a line by depicting mixed-race family as normal

The Daily Circuit
MPR News
Minnesota Public Radio
2013-06-11

You might not think a cereal commercial would serve as a vehicle for a heartfelt conversation about race, but that seems to be what’s happening — both around the country and on The Daily Circuit.

Not all of that conversation is respectful. Some of the reactions to the current Cheerios commercial were so ugly, the company asked YouTube to turn off its comments function.

What made some watchers angry was the racial mix of the family depicted by the commercial…

…. But in some parts of the country, especially in rural America, such images still take some getting used to.

“The presence of these couples is opening up a new conversation that hasn’t been there,” said Jenifer Bratter, professor of sociology at Rice University. “In a space where there is almost no racial diversity, where it’s dominated by one group, it’s hard to really gauge what people think about race.

“It’s that act of forming a family that I think is really still a powerful moment for people to deal with their own racial attitudes.” …

… “We know that one of the most charged couplings is white women and black men, for many reasons,” said Marcia Alesan Dawkins, a professor at the University of Southern California. “There’s a history of lynching black men for their perceived threats against white women. … A lot of people said in the comments, ‘It’s only white women who can have white babies, so if they start having babies or keep having babies with African-Americans and Asian-Americans, etc., etc., what’s going to happen as white people become not the majority race in the United States?'”

In a different context, Dawkins said, the race of the little girl in the commercial would not have attracted attention…

Read the entire story here. Listen to the story here.