Mixed Race Studies

The Commoditization of Hybridity in the 1990s U.S. Fashion Advertising: Who Is cK one?

in Beyond the Frame: Women of Color and Visual Representation
Palgrave MacMillan
September 2005
272 pages
5 1/2 x 8 1/4 inches
Hardcover ISBN: 978-1-4039-6533-2, ISBN10: 1-4039-6533-1

Edited by

Neferti X. M. Tadiar, Professor of Women’s, Gender & Sexuality Studies
Barnard College, Columbia University

Angela Y. Davis, Distinguished Professor Emerita
University of California, Santa Cruz

pages 31-47

Laura J. Kuo

…an important caveat follows for postcolonial practices,namely the risk that hybridity might be re-colonised by the apparatus of power as either compensation for our losses,or as the velvet glove of enjoyment that goes hand in hand with the iron fist of exclusion. —Kobena Mercer

How does a concept like hybridity travel within different economies—between the academy, activist arenas, and the media, for example—and what forms does it take on within these smart mutations? Is the adoption of a complex concept like hybridity by the media the simple appropriation of culture by capital? The usages, travels, and permutations of hybridity are more complex and elaborate than a blanket confiscation of its political value. After all, capital is culture (among other things) and hybridity is another sign within postmodern commodity systems. By engaging the structure of these systems we can begin to identify the ways in which hybridity operates within—and in the service of—the dominant logic of postmodern capitalist neoliberalism, and its massive contradictions. In this essay I investigate hybridity as a site of possible transgressions of fixed identities, and as a potentially productive space that has been recolonized by market multiculturalism—a space that views everyone as mixed and thus elides structural differences and persistent hierarchies of race, class, gender, and sexuality.

Specifically within the context of advertising, hybridity becomes, atone level, a strategy that stabilizes discursive power relations within transnational capital. For example, there are complex relations between multinational corporations in the United States and U.S./Third World and gendered immigrant labor practices on the one hand, and the cooptation of political coalitional work on the other. At another level, images of hybridity in advertising generate value in a global world where these commodities circulate. Certainly, a racialized economic hegemony is stabilized through appropriations of racial diversity discourses within market multiculturalism. Yet it is too easy to declare that global capital exploits the labor of women of color in the Third World and in the United States, that advertising hides this exploitative relationship, and that the images therefore should be criticized and dismissed. Instead, I am interested in the way in which this practice of “hiding” constitutes a necessary vector of postmodern diference that enables the dominant logic of late capitalism, which inturn depends upon exploitation, appropriation, and difference. Advertising hybridity becomes complicitous with the act of hiding, yet at the same time images of hybridity open up new communities of possibilities for people who take up the ads within their specifics of home and place, looking toward new forms of identifications and affective communities withinc apitalism’s cultural logic.

The observations in this essay are based on the principal photograph of the cK one advertising campaign, which has been displayed prolifically on billboards and in magazines. This photo (see figure 2.1), which served as the prototype on which other early cK one ads were based, is called “Jenny, Kate & Company” in the Calvin Klein Cosmetics press packet. Using this ad as a sort of case study, I investigate how images of hybridity and multiculturalism in advertising serve to conflate race, class, gender, sexuality, ethnicity, nation, and culture within a totalizing logic of neoliberalism. I call the discursive practice of homogenizing race, class, nation, gender, sexuality, ethnicity, andculture—and the elision of the specificities of their individual locations and their intersections—commoditized hybridity. Commoditized hybridity is a manifestation of a particular practice of the relentless marketing of race. It is informed by processes of consumption of race within postmodern capitalism. Commoditized hybridity also can be represented under the guise of “multiculturalism.”…

…The cK one photos establish hybrid racial relations through biologistic portrayals of appearance. The staging of the models constructs whiteness as a racial essence cosmetically arranged with “other” racialessences in order to convey an impression of harmony/unity/solidarity. In this respect, cK one potentially closes off a space to discuss the different positions whites and people of color occupy in relation to practice,history, and social formations, and structures and relations of power.Through juxtapositions of differently racialized bodies in its ads—which are staged against a homologous black and white backdrop—cK one constructs a notion of multiraciality that postures as social diversity. The hybrid figures of 1990s fashion are bodies on which a racialized seamlessness/sameness is inscribed. The models in cK one photos are racially diverse, and when they are staged together they signify the currency of a multicultural decade. Their bodies are arranged together and “equalized” in a contrived dynamic through photographic distortion and a deliberate homogeneity of height, weight, pose, style, and expression that invokes a sense of cultural similarity, of oneness. The images are presented in black and white, creating a ground tone of similarity against which difference, as separation, is muted, and heterogeneity is emphasized. The models are always already in contact, integrated, and hybrid. They are aesthetically seductive—extremely cool, hip, and sexy—and they become part of the lure to cK one-ness. The models of color appear to be “one” with the white models, creating an illusion of common social and economic positions and cultural identifications. The commoditization of hybridity takes rich heterogeneous spaces of racial and cultural diversity and turns these spaces of promise against their potential, effectively disrupting their ability to spawn real social change. It recolonizes desirable and hopeful formulations of cultural hybridity and transforms them into weapons against the spectator. In short, these ads erase historical memory and social analysis, offering fragrance in return…

Read the entire chapter here.

Spinning on Margins: An Analysis of Passing as Communicative Phenomenon

Queen: a journal of rhetoric and power
Special Issue: Rehtorics of identity: Place, Race, Sex and the Person (January 2005)
From the conference held from 2005-01-20 through 2005-01-22 at the University of Redlands
21 pages

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Acts of black-to-white racial passing in the United States represent a struggle between self-identity and the social structures into which one is born. From a historical perspective, passing is a strategy of representation through which light-skinned black Americans attempt(ed) to reconcile “two unreconciled ideals:” their limited opportunities as black people in a segregated society with their idealized life goals as full American citizens in the pre-civil rights era (DuBois, 1903; Gandy, 1998). In other words, passing is a strategy employed by many light-skinned black Americans to resolve being excluded from the general white world of social activity by “the vast veil;” the physical, legal, psychological, and social obstacles structurally embedded between blacks and whites (DuBois, 1903).

This individual paper employs Structuration Theory, legal precedent, literature and rhetorical analysis to respond to the following specific interrogations: (1) is it possible to develop a vocabulary about “passing,” which is an activity based on nonverbal communication and physicality and enshrouded in a code of silence? And, in a broader sense, (2) how do acts of passing themselves become communicative behaviors that express identity?

This three-pronged analysis of the passing phenomenon will work to call the ideological and epistemological foundations of race itself into question. First, Giddens’s Structuration Theory will explain that passers note a contextual diversity/dissonance at the macro level between the general white world of social activity and the general black world of social activity. Second, a rhetorical analysis of legal precedent will highlight America’s investment in race as the basis for defining and partaking in social and material privileges that become routine and critical aspects of day-to-day life. Court cases such as Plessy v. Ferguson, Brown v. Board of Education, and People v. Dean are pivotal points in tracing whiteness from “color to race to status to property” (Harris, 1993, p. 1714). Additionally, these cases address the debate of social versus legal whiteness as the grounds for constituting full participation in society. Third, available literature, including narratives written by enslaved Africans along with novels, diaries, and memoirs from the Harlem Renaissance, recounts tales of passing and the emotional and social tolls paid in the process (Harris, 1993; Johnson, 1912; Hughes, 1933; Williams, 1991; Ifekwunigwe, 1999). Rhetorical analysis of this literature will uncover the tropes of a vocabulary of passing and reveal race as a “fantasy theme” and social resource that individuals who are not in the mainstream of white America utilize to attain economic, political, and personal fulfillment.

Read the entire article here.

From The Birth of a Nation to Havoc: The Evolution of Traditional Blackface to Modern Racial Passing in U.S. Cinema

Pennsylvania State University
August 2009
122 pages

Dorian Randall

A Thesis in Media Studies by Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts

Race is a complicated and debatable term in the United States today. Film is one venue in which the construction, deconstruction, and reconstruction of race is challenged, particularly with representations of minstrelsy and episodes of racial passing that also evolve into performance of class distinctions. Through textual and rhetorical analysis, I chronicled the evolution of minstrelsy as a form of racial passing through a cinematic lens and demonstrated how the racial/class performance creates multiracial identity in the films’ characters. The purpose of this research is to add to the continuing analysis and investigation of racial passing and minstrelsy by evaluating the construction of multiracial identity in monoracial characters that perform a race other than their own in the films under analysis. This study also reveals how the definition of race evolved through class performance as race and class are heavily related terms.

Table of Contents

• 1. Introduction
• 2. Literature Review Part I: A Brief History of Slavery
• 3. Literature Review Part II: Minstrelsy and Racial Passing
• 4. Burnt Cork Cinema: From Black and White to Color
• 5. Fade into White: Passing Films
• 6. Class Act: Race/Class Films
• 7. Conclusion
• Bibliography

Read the entire thesis here.

Race Matters: Race, Telenovela Representation, and Discourse in Contemporary Brazil

University of Iowa
May 2010
193 pages

Samantha Nogueira Joyce

A thesis submitted in partial fulfillment of the requirements for the Doctor of Philosophy degree in Communication Studies in the Graduate College of The University of Iowa

In Race Matters: Race, Telenovela Representation, and Discourse in Contemporary Brazil, I investigate the primetime telenovela Duas Caras (2008), examining how different factors such as narrative, audience reaction, as well as media criticism and commentary played a dynamic role in creating a meta-discourse about race in contemporary Brazil. In a larger sense, I examine how the social discourse about contemporary race relations and racism in that country were circulated, constructed and reconstructed during the time the program aired. Additionally, I explore the role of the media, particularly the telenovela, in debunking the idea that Brazil is a racial democracy. Secondly, the research incorporates the Brazilian notion that telenovelas are “open texts”, meaning they are co-authored by a variety of industrial, creative, cultural and social actors, into a methodological approach that expands the traditional idea of textual analysis. In addition to reading the telenovela text itself, this study investigates the production process, audience responses and broader media coverage. Thus, the public discourse about the telenovelas is a key part of the text itself.

TABLE OF CONTENTS

• I. RACE MATTERS: RACE, TELENOVELA REPRESENTATION, AND DISCOURSE IN CONTEMPORARY BRAZIL
  • Introduction
  • Method
  • “Data” (Textual) Analysis
  • Cultural Value
  • Literature Review
  • Brazilian Television History
  • Soap Operas Vs Telenovelas: ‘Distant Relatives’
  • The Centrality of Telenovelas
  • Audience, Democratic Participation and Publis Spheres
  • Entertainment-Education
  • Ethical Dilemas
  • Conclusions: Current Reality, Future Possibilities
  • Outline of Chapters
• II. BLACK FLOWS: DUAS CARAS, THE LEGACY OF WHITENING AND RACIAL DEMOCRACY IDEOLOGY IN BRAZIL
  • Race and Raça. The United States and Brazil: Similar History, Disparate Outcomes
  • The Culteral Role of Narratives of Cross-Racial Love
  • The Black Movement in Brazil
  • Affirmative Action Policies, Quotas and Racial Identity In Brazil
  • Conclusions
• III. “MY LITTLE WHITEY”. “MY BIG, DELICIOUS NEGRO”. TELENOVELAS, DUAS CARAS, AND THE REPRESENTATION OF RACE
  • Brazilian Blacks and TV
  • Historical Uses of Racial Stereotypes. American and Brazilian TV
  • Representing Contradicions: Evilásio’s Case
  • From a Traditionally “White Priviledged” Space to “Multicolored Duas Caras”
  • Duas Caras, Ratings, Racism and Public Pressure
  • My Little Whitey and My Big Delicious Negro
• IV. DEU NO BLOGÃO! (“IT WAS IN THE BIG BLOG!”). WRITING A TELENOVELA, A BLOG, AND A METADISCOURSE
  • Mãe Setembrina
  • The Barretos
  • The Role of Ratings: IBOPE
  • Conclusions
• V. DUAS CARAS AS A NEW APPROACH TO SOCIAL MERCHANDIZING
  • The Social Merchandising Approach
  • E-E and SM: Similarities and Disparities
  • Emotional Involvement and Personal Agendas
  • Duas Caras as the “Future of E-E”
  • Racial Matters as a “Social Good”
  • E-E, SM and the Importance of Celebrity
  • Conclusions
• VI. CONCLUSIONS
• BIBLIOGRAPHY

Read the entire dissertation here.

Professor Mary Beltrán to be Featured Guest on Mixed Chicks Chat

Mixed Chicks Chat (Founders of the Mixed Roots Film & Literary Festival)
Hosted by Fanshen Cox, Heidi W. Durrow and Jennifer Frappier
Website: TalkShoe™ (Keywords: Mixed Chicks)
Episode: #255 Professor Mary Beltrán
When: Wednesday, 2012-05-09, 21:00Z (17:00 EDT, 14:00 PDT)

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

Mary Beltrán an Assistant Professor of Radio-Television-Film at the University of Texas at Austin, is of Mexican and German, English, and Scotch Irish heritage. Her research is focused on the production and narration of race, ethnicity, gender and class in U.S. television, film, and celebrity culture, with an emphasis on Latina/o and mixed race representation. She is the co-editor (with Camilla Fojas) of Mixed Race Hollywood (NYU Press 2008), an anthology of scholarship on mixed-race representation in film, television, and new media. She also is the author of Latina/o Stars in U.S. Eyes: The Making and Meanings of Film and TV Stardom (University of Illinois Press, 2009), which explores the construction and marketing of Latina and Latino stars in the U.S. in relation to the evolving status of Mexican Americans and other Latinos since the 1920s. Mary is a former journalist and social worker; her experiences working in San Francisco with Latina and African American teens and interest in the complexities of popular culture and its impact on young people of color spurred her to pursue a career that would allow her to combine her various interests and conduct research at the intersections of race, class, and gender and entertainment media studies. Since becoming a faculty member of the University of Wisconsin-Madison and now the University of Texas, Beltrán has taught a variety of classes on race and entertainment meida, including first-ever courses at both universities on Mixed Race and U.S. Media Culture. Aside from her books, she has published on such topics as mixed-race actors and characters in U.S. media culture, racial representation in millennial television, ethnic media activism targeting the television networks, and the racial politics of beauty and body ideals as reinforced in Hollywood media productions. She has been conducting research for a new book, Post-Race Pop: Interrogating Racelessness in Millennial Media Culture. Post-Race Pop explores the emphasis on racial ambiguity and utopic presentations of racial and ethnic diversity in contemporary television and other millennial media culture, particularly in light of the imperatives of the media industries to appeal to an increasingly diverse audience and popular political rhetoric that has utilized notions of post-racial America to widely divergent ends.

Selected Bibliography:

• Mixed Race Hollywood, New York University Press, 2008.
• “Everywhere and Nowhere: Mediated Mixed Race and Mixed Race Critical Studies,” Keynote address video at the 2010 Critical Mixed Race Conference (Requires Apple’s iTunes application).
• “The New Hollywood Racelessness: Only the Fast, Furious, (and Multiracial) Will Survive,” 2005.

The White Media: Politics of Representation, Race, Gender and Symbolic Voilence in Brazilian Telenovelas

University of Texas, Austin
May 2010
47 pages

Monique H. Ribeiro

Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS

Brazil was the first country in South America to launch a television network and air television shows. Television programming was designed to develop national capitalism and to foster a national identity. Although Brazil is composed of an overwhelmingly large population of African descent, they are usually underrepresented in mainstream media, chiefly in telenovelas (soap operas). This research examines what happens when a telenovela attempts to portray issues of race relations and tensions in contemporary Brazil.

Duas Caras (“Two Faces”), a TV Globo telenovela aired October 1, 2007 to May 31, 2008. The show was a turning point in Brazilian programming because it was the first prime time soap opera to present audiences with an Afro-Brazilian as the main hero. It was also the first novela das oito (“eight o’clock” or “primetime soap opera”) to openly address racial issues through its plot and dialogue. However, in depth critical and theoretical analysis of different episodes demonstrates that instead of debunking the myth of racial democracy, this soap opera in fact helps to further reproduce it through the portrayal of interracial relationships amongst the characters. As shown here, interracial relationships between white and Black Brazilians was used as a strategy of erasing African ancestry traits from the population through a process of whitening.

This report combines a traditional textual analysis of Duas Caras with theoretical frameworks about race relations, gender and anti-Black racism in Brazil. The investigation revealed how telenovelas contribute to social ideology and hegemonic discourses in a way that has not been properly recorded. This discussion contributes to Latin American media studies generally, and the scholarship on interracial relationships in Brazilian media particularly.

TABLE OF CONTENTS

• INTRODUCTION
• Telenovela Genealogy
• ENCODING AND DECODING HEGEMONY, SYMBOLIC VIOLENCE AND CONTROLLING IMAGE
• The Negative Impact of Telenovelas on Black Social Movements
• Shutting down the alternative
• DUAS CARAS: A TEXTUAL ANALYSIS
• CONCLUSION
• APPENDICES
  • Appendix A
  • Appendix B
  • Appendix C
• BIBLIOGRAPHY
• VITA

…An important text to this discussion is A Negacao do Brasil: O Negro na Telenovela Brasileira (“The Negation of Brazil: Blacks in Brazilian Soap Operas), by Brazilian filmmaker Araújo. This book contributes to the debate about the impact of the media on everyday life and the lack of diversity in telenovelas. Araújo provides a great deal of historical background on the overall disenfranchisement of Afro-Brazilian actors and furthers his discussion by providing an analysis of the stereotypical roles often offered to said actors. Despite the immense contribution Araújo makes to Brazilian television studies, one of the major gaps in his scholarship is the lack of a theoretical framework to guide the issues he raises. Thus, in order to close this gap I will use Antonio Gramsci’s concept of hegemony and Pierre Bourdieu’s theory of symbolic violence in order to argue that the media is another site of domination within the state. My research also challenges Araújo’s work by engaging with Abdias do Nascimento’s work Brazil: Mixture or Massacre and Jared Sexton’s Amalgamation Schemes in order to understand the pernicious project of whitening that is stitched in the fabric of Brazilian discourses of harmonious miscegenation and racial democracy and how that is perpetuated in programs like Duas Caras…

…The white elite owns Brazilian mainstream media, including TV Globo. Whenever a new soap opera is aired, its author makes his or her rounds in different television shows, magazines, and newspapers in order to publicize the new production. Watching these interviews it, it becomes clear that that Brazil does not have any Black scriptwriters, which complicates the situation, leaving white men and women to construct Blackness according in whatever way they see fit. This way, the dominant class controls what types of ideas are produced in television shows, namely telenovelas. As Sander Gilman suggests, “specific individual realities are thus given mythic extension through association with the qualities of a class. These realities [are] … composed of fragments of the real world, perceived through the ideological bias of the observer.” In the imagination or creative process of writing a telenovela storyline, white scriptwriters do not allow much space for for representations of Black power, whether social, capital, or cultural. It should not be any surprise that “whites appear in disproportionately high numbers as figures of authority and examples of beauty in the Brazilian media.” Because of that the audience is bombarded with images and values of whiteness, and Afro-Brazilians, for the most part, do not have a diverse set of images to relate to or emulate. This control over the images seen on television gives the white bourgeoisie the power to circulate their ideologies (i.e.: racial democracy) to socially subordinate groups. Scholar Liv Sovik when she states that, “hegemonic discourse affirms mestiçagem both as a primary national characteristic and as a token of Brazilian openness to non-racialism and multiplicity.” However, the affirmation of mestiçagem (racial mixing) simply valorizes whitening or white mixing. There is no hegemonic discourse in Brazil that promotes Black-Indigenous mixing, for instance. Consequently, non-whites are socialized to believe that dominant social and cultural norms are natural. In her essay, “Genre and Gender: The Case of Soap Opera,” Christine Gladhill states that “hegemony is won in the to-and-fro of negotiation between competing social, political, and ideological forces through which power is contested, shifted, or reformed.” As we can see, hegemony operates in a much more covert fashion than forceful domination. Hegemony is a contradictory, fraught process that is constantly being challenged by communities who perpetually organize to disrupt and push back against the existing hegemony, while the dominant class must work to reconstitute new hegemonic processes, which brings us to the issue of symbolic violence and how such process of violence is exerted by the media…

…Considering that soap operas are so engrained in Brazilian culture, these teledramas provide a vehicle for symbolic violence to enter the homes of thousands of Black families every night when men and women sit in front of their TVs to consume the messages encoded in the soap operas. Since symbolic violence is unseen and unspoken, telenovelas have the power to affect how people think of themselves and their sense of self-esteem. According to Sander L. Gilman, “visual conventions [are] the primary means by which we perceive and transmit our understanding of the world about us.” As I will discuss in a following section, Aguinaldo Silva partakes in this process of symbolic violence through the hidden message that Black love, specifically Black heterosexual unions must be avoided, suggesting that racial mixing is the ideal model of racial progress. According to Bourdieu, the longer this process of symbolic violence is veiled from and left unchallenged, the more powerful it is in maintaining class dominance and delaying the process of liberation…

Read the entire report here.

Cultural Reconstruction: Nation, Race, and the Invention of the American Magazine, 1830-1915

University of Maryland
2003-12-19
504 pages

Reynolds J. Scott-Childress, Assistant Professor of History
New Paltz, State University of New York

Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy

Cultural Reconstruction asks: How did the U.S. develop a national culture simultaneously unified and fractured by race? The little-examined history of American magazines offers a vital clue. The dissertation’s first part demonstrates how post-Jacksonian American culturists, deeply disturbed by the divisive partisanship of “male” politics, turned to the “female” culture of sentimentality with the hope of creating a coherent and inclusive nation. These culturists believed a nationally circulating magazine would be the medium of that culture. This belief derived from the wide success of the penny press revolution of the 1830s. Cutting against the traditional reading of the penny press, Cultural Reconstruction claims that newspapers were a major proponent of sentimentality but were barred from creating a national audience by their intense local appeal. Antebellum magazinists, from Edgar Allen Poe to James Russell Lowell, attempted to adapt the sentimental worldview of the penny press to a national audience, but were frustrated by a series of cultural rifts expressed chiefly in gendered terms. Part two of the dissertation examines how the post-Civil War magazine furthered the project of sentimentality and became the leading medium of national culture. Responding to the 1870s collapse of Political Reconstruction, editors such as Richard Watson Gilder at the Century employed a series of innovative aesthetic strategiesgreater realism, local color, and regional dialect believing they were creating a cultural panorama of American life. But this project of reconstruction was riven by two fundamentally conflicting visions of American identity: the regional versus the racial. The dissertation explores correspondence between Northern magazinists and white and black Southern authors (George Washington Cable, Charles Chesnutt, Paul Laurence Dunbar, and Thomas Nelson Page) to reveal how race won out: Northern editors helped invent and popularize “Southern” memories of the Old South and the Civil War. In the process, the magazines nationalized white Southern conceptions of racial separation and prepared the way for the explosive nationwide reaction to the 1915 film The Birth of a Nation. Cultural Reconstruction shows how twentieth-century American national unity was paradoxically bound up in racial division.

Table of Contents

• Introduction. Forgetting the Magazine: The Birth of a National Culture
• Part I The Rise of Sentimental Public Culture
  • 1. The Fall of the Millennial Nation: The Failure of the Atlantic Cable and the Coming of the Civil War
  • 2. Printing Urban Society: The Social Imagination and the Rise of the Daily Newspaper
  • 3. The Whole Tendency of the Age Is Magazineward: The Post-Jacksonian Magazine and National Culture
• Part II Cultural Reconstruction: The American Magazine
  • 4. Competing for Culture: The Rise of the General Magazine
  • 5. The Evolution of Magazine Culture: Sentimentality, Class, and the Editors of Scribner’s:
  • 6. The Genre of Sentimental Realism: The Thematics, Stylistics, and Form of the Postbellum Magazine
  • 7. Cultural Reconstruction: National Unity and Racial Division in the American Magazine
  • 8. From Local Color to Racial Color: The Century and African American Authors
  • 9. A Hazard of New Cultures
• Bibliography

Read the entire dissertation here.

The Mixed-race MilkBite™

Brad’s Blog: musings on sociology, religion, higher ed, and whatever else is going on in my life
2012-04-16

Bradley Koch, Assistant Professor of Sociology
Georgia College & State University

Here are a few commercials for the new MilkBite™ from Kraft. They play on stereotypes about mixed-race individuals.

There are other spots on Kraft’s YouTube page, most playing on these same themes. The problem with a marketing campaign like this is that it trivializes the experience of people with multiple racial/ethnic identities who are still often met with derision and confusion. The first ad above perpetuates the self-fulfilling prophecy about “confused” identities. As a child, I remember my own parents telling me that they didn’t have a problem with interracial couples but worried about how others might react to their children. The second ad exotifies (exoticizes?) mixed-race identities…

Read the entire essay here.

Defining Mixed Race on Television: an Analysis of Barack Obama and Saturday Night Live

California State University, Sacramento
Fall 2011
109 pages

Amanda Joy Davis

THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in COMMUNICATION STUDIES

This study uses a semiotic approach to textual analysis to examine social constructions of Barack Obama’s race in televised sketch comedy to discover how this construction contributes to the process of hegemony regarding society’s treatment of mixed race. Polysemy will be explored as a key contributing factor. The television program chosen for this study is Saturday Night Live (SNL); the program will be examined for visual and linguistic references to Obama and mixed race. The absence of mixed race references will also be analyzed for their contribution to the show’s overall message. This study argues that while SNL mentions mixed race, it ultimately adds to the hegemonic treatment of mixed race individuals. That is, it identifies Obama as monoracial, ignoring his mixed race heritage in favor of a neat, pre-existing category. While SNL had the opportunity to step outside of the typical dismissal of mixed race and defend their choice of actor to portray Obama, and refer to him as mixed race on a consistent basis, they opted instead to categorize him as monoracial. In doing so, SNL upholds the silent treatment given to the mixed race community, forcing a monoracial identification based on appearance, a hegemonic course of action.

Read the entire thesis here.

The Case for Cablinasian: Multiracial Naming From Plessy to Tiger Woods

Communication Theory
Volume 22, Issue 1 (February 2012)
pages 92–111
DOI: 10.1111/j.1468-2885.2011.01399.x

LeiLani Nishime, Assistant Professor of Communication
University of Washington, Seattle

This article advocates for the interdisciplinary use of critical race theory and critical rhetorical theory in communication to analyze racialized language and to evaluate the cultural and political significance of new racial discourses in the United States. The article examines the dissenting opinion in Plessy v Ferguson (1896) and the congressional hearings on the Tiger Woods Bill (1997), two key instances of public debate over multiracial categories. The article then turns to Tiger Woods’ term “Cablinasian” and the possibilities of an alternative and contestory multiracial nomenclature, shifting the critique away from Woods’ celebrity or politics and toward the legal history and rhetorical potential of the word itself.

Read or purchase the article here.