Relevant bibliographies by topics / Race awareness in motion pictures

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Race awareness in motion pictures'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Race awareness in motion pictures"

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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (November 1, 2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.
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Collins, Richard. "Honoring the Form: Zen Moves in Charles Johnson’s Oxherding Tale." Religion and the Arts 14, no. 1-2 (2010): 59–76. http://dx.doi.org/10.1163/107992610x12592913031829.

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AbstractIn Being and Race Charles Johnson compares a writer working with traditional forms to a martial artist who “honors the form” of his predecessors. In his 1982 novel Oxherding Tale Johnson honors the form of a number of traditional fictional genres, including the slave narrative, the picaresque novel, the philosophical novel of ideas, and Zen texts such as koans, sutras, and the twelfth-century graphic narrative, the “Oxherding Pictures.” Calling his novel a “slave narrative that serves as the vehicle for exploring Eastern philosophy,” Johnson alludes to Hindu, Taoist and Buddhist texts, as well as to Western literary and philosophical works, to dissolve the dualistic thinking at the heart of what he calls “the samsara of racial politics.” To be free of the illusory nature of “ontological dualism,” however, one must journey through stages of increasing awareness, admirably depicted in the ten illustrations of the “Oxherding Pictures.” From seeking a self (ox) that one thinks one has lost, to glimpsing the self that is first elusive and finally illusory, the seeker comes to realize that all identities are constructed and therefore temporary, including such notions as “race” and “self.” Like some biracial Everyman, Johnson’s narrator may not complete the journey by the end of the novel but he discovers much about the insubstantiality and inter-connectedness of himself in the world along the way.
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LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda." Journal of American Studies 31, no. 3 (December 1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.

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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.
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Fronc, Jennifer. "“HISTORICAL PRESENTATION” OR “LIBEL TO THE RACE”?: CENSORSHIP AND THE BIRTH OF A NATION." Journal of the Gilded Age and Progressive Era 14, no. 4 (October 2015): 612–15. http://dx.doi.org/10.1017/s1537781415000432.

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On April 9, 1915, the fiftieth anniversary of General Lee's surrender at Appomattox, The Birth of a Nation opened in Boston. Audience members were “prepared for the unusual” the moment they entered the Tremont Theatre. After “a young man in evening dress and a silk hat” took tickets, “two young women in flounced hoop skirts and with long curls … ma[d]e a sort of graceful minuet bow, and hand[ed] you a program.” While “soldiers ‘on guard’ in the Civil War uniforms of the North and South” flanked the aisles, another costumed young woman “escort[ed] you to your seat.” As the film projector flickered to life, a title card issued an important caveat to the audience: “This is an historical presentation of the Civil War and Reconstruction period and is not meant to reflect in any way upon any race or people of today.” D. W. Griffith did not write this title card; rather, the National Board of Censorship of Motion Pictures (NBC) inserted it to fend off protestors and signal its commitment to filmmakers’ First Amendment rights.
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FRONC, JENNIFER. "Local Public Opinion: The National Board of Review of Motion Pictures and the Fight against Film Censorship in Virginia, 1916–1922." Journal of American Studies 47, no. 3 (December 5, 2012): 719–42. http://dx.doi.org/10.1017/s0021875812001375.

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This article examines the conflict that ensued when the National Board of Review of Motion Pictures (a New York City-based organization that opposed any form of legal film censorship) entered the debate over Virginia's state film censor board. Virginia's engagement with film censorship emerged out of its history and politics, particularly in regard to race relations. Elite white Virginians lived in fear both of federal intervention (with the specter of Reconstruction not far behind them) and of a local usurpation of political power by black Virginians. The National Board of Review (NBR) was largely ignorant of this situation, which worked against their goals and ability to cultivate reliable allies. In the 1910s and 1920s, film raised issues about authorities – locally based and oriented versus nationally oriented authority, private authority and municipal, state, and/or federal authority.
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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (July 2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.
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Bakker, Gerben. "Stars and Stories: How Films Became Branded Products." Enterprise & Society 2, no. 3 (September 2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.

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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.
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Steyn, Raita. "Socio-cultural Status of Albinism in Africa: Challenging Myths, Concepts, and Stereotypes." Journal of Global Awareness 3, no. 2 (December 28, 2022): 1–18. http://dx.doi.org/10.24073/jga/3/02/03.

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This article analyses the socio-cultural status of Albinism in Africa and the role unchallenged stereotypes, irrational concepts, and unfounded beliefs play in the lives of persons with albinism. Following some beliefs, persons with albinism” do not die but vanish” to later “return as ghosts to haunt the living.” The author discusses this paradox about persons with albinism identified as hunted victims and simultaneously haunting perpetrators. The research examines the concept of albinism being a curse from dead ancestors or theodicy and its association with supernatural powers. By a comparative and diachronic approach, the study challenges unsubstantiated stereotypes. This study aims at social awareness by demystifying established myths and discussing study cases and examples referring to media, art, performing arts, literature, photography, and motion pictures.
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Bakka, Jagadevi. "Gupta-Yantra : Spying Robot for Defence." International Journal of Innovative Research in Information Security 10, no. 04 (May 8, 2024): 145–49. http://dx.doi.org/10.26562/ijiris.2024.v1004.05.

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Recently, with rising public security awareness, the demand for an efficient surveillance system has become highly significant. But, several monitoring systems developed have certain drawbacks limiting their applications. Therefore, a refined surveillance system has been proposed which could be utilized in many fields, especially in border areas for intrusion detection, to reduce the crime rates and to serve tremendous purposes. The project focuses on building a spying robot for maneuvering and monitoring in perilous environments. The module includes Raspberry Pi interfaced with DC motors, GPS, Pi camera, Temperature sensor, Fire sensor and ultrasonic. Meanwhile, the motion of the robot could be controlled by a web application through Wi-Fi connectivity. This robot is programmed to stream the live data over a virtual network and update the captured images along with the time stamp and location at certain instances to the cloud. Hence, it can transmit real-time videos and pictures with temperature measured.
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Dissertations / Theses on the topic "Race awareness in motion pictures"

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Larrieux, Stephanie F. "Racing the future: Hollywood science fiction film narratives of race." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319100.

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Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.

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This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.
In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.
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Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).
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Fyvie, Erica Gwen. "The myths of the American dream interracial and inter-ethnic relationships in Hollywood films /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ56174.pdf.

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Copsey, Dickon. "Race, gender and nation : the cultural construction of identity within 1990s German cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1927/.

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This study offers a cultural studies reading of race, gender and nation as represented in three thematic sub-genres of contemporary German film production. The aim of this study is to demonstrate that each of these thematic sub-genres offers a unique insight into the cultural construction of a distinct, yet problematic and porous umbrella identity enjoying a particular cultural currency in post-Wall Germany. It should be noted that, in this respect, this study represents a move away from these traditional diachronic analyses of German film, which attempt a snapshot of an entire history filmic production, towards a more clearly delineated, synchronic analysis of a single contemporary moment – namely, the 1990s. The first of these thematic sub-genres concerns the ambiguous romantic narratives of the sexually autonomous yet avowedly post-feminist New German Comedy women. As a significant sub-genre of the popular New German Comedy film of the early 1990s, these films embody a clear structural reliance on the narrative norms of a classic, mainstream cinema. In contrast, the cinematic representations East(ern) Germany, past and present, incorporate a myriad of generic forms and registers in their explorations of the meaning of reunification for eastern German populations, from up-beat comic road movies to psycho-allegorical tales of internal disquiet. The third area of this study concerns itself with the representation of Turkish-German populations in 1990s German cinema. As eclectic as the cinematic representations of the East, the work of these Turkish-German filmmakers appears to offer a troubling cinematic trajectory from abused and exploited first generation Gastarbeiter to self-assured and recalcitrant street-tough Kanaksta.
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Slack, Neil Graham. "A cinema of white masculine crisis : race and gender in contemporary British film." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2380/.

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The focus of this thesis is contemporary British cinema. Specifically, the emergence of a representational trend within its texts that has resulted in a disproportionate number of films whose protagonists are white, male, and who are in some way, beset by crisis. Two categories of identity are thus explored in this thesis, each of which possesses its own register of meaning, each of which requires (or seems to require) a particular approach in terms of the way that it is represented in film. These two categories are race and gender. In every sense then, this thesis seeks to take part in the dialogue which since the late eighties and particularly during the 1990's, has formed around the idea that contemporary white masculinity is in crisis, and has sought to provide evidence both for and against that idea in the texts of contemporary popular culture. What this thesis aims to add to that dialogue, however, is a greater awareness of the way in which race functions in society and in cultural representations, as well as a better understanding of the extent to which its influence is discernible in the texts of contemporary British cinema alongside the trend towards portrayals of white masculine crisis. Employing a cultural studies trajectory throughout, this thesis draws on areas of whiteness and race theory, masculinity studies, film theory, culture and media studies, plus theories of representation, in presenting its arguments, and uses the tools of close textual analysis during the film readings that are its single largest element. Special emphasis is placed on situating both the arguments put forward and the films discussed in their appropriate cultural context, and the thesis frequently looks for parallels outside cinema as a means of illustrating key ideas. Ultimately, this thesis aims to increase the balance of the discussion on the subject of white masculine crisis by highlighting the first term in the phrase, and to better the understanding of contemporary British cinema in the process.
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Chua, Ling-Yen. "Deviant intersections : interrogating discourses of race, sexuality and non-white homosexuality in contemporary films." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/108332/.

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This thesis attempts to provide a critical framework for discussion of English language films featuring non-white homosexual characters and contribute to the on-going debate concerning the cinematic representation of racial and sexual minorities. It does not attempt to offer an exhaustive account of the field. Emphasis is placed on why there have previously been few films containing non-white homosexual characters and why there are now more such films, as well as identifying the way in which these characters are depicted. The study begins by examining the intimate relationship between Western construction of racial and sexual discourses. Through analysing several contemporary films and reviewing critical literature from the fields of post-colonial and “race” criticism, lesbian, gay and gender studies, I argue that (white) homosexuals and non-white people have often been depicted as analogous, although not identical, in sexual “perversity”. I further suggest that they are depicted as similarly deviant because of the reproductive threat that they pose to the white heterosexual norm. The homosexual actions of nonwhites, (who have historically been stereotyped as “naturally” sexually deviant), are usually interpreted as an example of their loose morality, rather than as an indication of non-heterosexual identity. By contrast, white subjects who engage in homosexual practises are usually accorded a lesbian or gay identity. I argue that the recent increase in the number of films containing non-white homosexual characters reflects the influence of “politically correct” discourses and theories of “hybridity”. I further suggest that the crossover success of a number of these films indicate that traditional stereotypes of race and sexuality are now called into question.
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Warren, Naomi Irene. "The politics of representation : a rhetorical analysis of Spike Lee's films, 1986-1998 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/fullcit?p9959605.

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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sim, Gerald Sianghwa. "The race with class towards a materialist methodology for race in film studies /." Diss., University of Iowa, 2007. http://ir.uiowa.edu/etd/187.

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Books on the topic "Race awareness in motion pictures"

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1963-, Williams James S., and Sayers Janet, eds. Revisioning Duras: Film, race, sex. Liverpool: Liverpool University Press, 2000.

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G, Obbagy William, ed. The Hollywood rat race. New York: St. Martin's Press, 1994.

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1964-, Ramey Lynn Tarte, and Pugh Tison, eds. Race, class, and gender in "medieval" cinema. New York: Palgrave Macmillan, 2007.

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Gooding, F. W. You mean, there's race in my movie?: The complete guide to understanding race in mainstream Hollywood. Silver Spring, MD: On the Reelz Press, 2007.

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Marchetti, Gina. Romance and the "yellow peril": Race, sex, and discursive strategies in Hollywood fiction. Berkeley: University of California Press, 1993.

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Reznik, David L. New Jews?: Race and American Jewish identity in 21st-century film. Boulder: Paradigm Publishers, 2012.

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Shapiro, Michael J. Cinematic political thought: Narrating race, nation, and gender. New York: New York University Press, 1999.

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Courtney, Susan. Hollywood fantasies of miscegenation: Spectacular narratives of gender and race, 1903-1967. Princeton, N.J: Princeton University Press, 2005.

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Courtney, Susan. Hollywood fantasies of miscegenation: Spectacular narratives of gender and race, 1903-1967. Princeton, N.J: Princeton University Press, 2005.

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Saks, Lucia. Cinema in a democratic South Africa: The race for representation. Bloomington: Indiana University Press, 2010.

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Book chapters on the topic "Race awareness in motion pictures"

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Gordon, Lewis R. "Race in Film." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 677–97. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_29.

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Dixon, Shane M., and Tim Gawley. "Screening Workplace Disaster: The Case of Only the Brave (2017)." In Visualising Safety, an Exploration, 101–10. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33786-4_12.

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AbstractMedia influence how we define and engage with our world, shaping our interpretations, attitudes, behaviours. Feature films in which work-related injuries, deaths, and disasters are the storylines can convey occupational safety messages to large, diverse audiences. Films can entertain, act as “powerful” and “poignant” memorials to workers, heighten peoples’ awareness of events, and even deepen their understanding of the causes of workplace disasters. However, it is unclear how films actually represent the complexities of workplace injury and industrial disaster. We examined the film Only the Brave (di Bonaventura, Luckinbill (Producers), Kosinski (Director) in Only the Brave [Motion Picture] (Columbia Pictures, United States, 2017)), which recounts the story of the deaths of 19 wildland firefighters in America. In particular, we examine how the film portrays workplace disaster and the factors which led up to the event. We discuss some strengths and limitations of feature films as a form of visualizing workplace disaster.
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Waddell, Calum. "Blaxploitation Cinema: Race and Rebellion." In The Style of Sleaze, 140–56. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409254.003.0010.

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Per the title, this chapter is an introduction to the notorious and controversial blaxploitation cinema that became famous in the early 1970s. However, unlike previous studies in this form, this chapter chooses not to become too entangled in arguments about race-representation (although it does acknowledge some of the debates around these motion pictures) but rather to maintain that the form had stylistic similarities to both the exploitation-horror film and the key sexploitation motion pictures of the era.
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Wilson, Sondra Kathryn. "The Film Industry and the Negro." In In Search of Democracy, 375–78. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116335.003.0079.

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Abstract Since the early 1940s, the NAACP has taken issue over the fact that blacks were not being portrayed in motion pictures in the manner in which they occupy positions in life. In the following address under the auspices of the Association of Motion Picture Producers Roy Wilkins outlines the NAACP’s policy on black actors in film roles. This speech was given on October 25, 1957. I am grateful for the opportunity to discuss with you face to face, at long last, a matter about which there has been a great deal of misunderstanding. After much telephoning and writing back and forth, beginning, I believe, last March or April, you have been gracious enough to arrange this luncheon meeting. While there has been much talk of an N.A.A.C.P. policy on employment of Negro actors in film roles, and on the type of material involving Negroes and the so-called race question which has found its way into motion pictures, the truth of the matter is that there has never been a clear policy issued by the N.A.A.C.P.
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Gleeson-White, Sarah. "Black Authorship at the Movies: Oscar Micheaux, Paul Laurence Dunbar, Wallace Thurman." In Silent Film and the Formations of U.S. Literary Culture, 67–104. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780197558058.003.0003.

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Abstract Chapter 2 considers the encounters of race film—all-Black-cast films largely produced and consumed by African Americans—and early twentieth-century Black literature, two fields only very rarely brought into conversation, although, as this chapter finds, there were significant exchanges between the two media and industries. It discovers it was motion pictures that provided Black authors as diverse as Oscar Micheaux, Paul Laurence Dunbar, and Wallace Thurman a means to navigate the gnarly terrain of Black authorship across the early decades of the twentieth century, caught as it seemed to be between the demands and expectations of literary and vernacular forms.
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Field, Allyson Nadia. "African American Film History Beyond Cinema." In The Oxford Handbook of Silent Cinema, 130–58. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.14.

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Abstract This chapter approaches William Foster, one of the first African Americans to produce motion pictures, through an intermedial lens, attentive to the interrelated performance milieux of popular theater and cinema in the early twentieth century. Foster’s career demonstrates how, for Black popular culture, valences of representation were contingent on the context of performance and reception. The dynamics of race, performance, and audience shaped the Black theatrical world of the end of the nineteenth century—and, in turn, informed the emerging Black cinematic landscape of the early twentieth. Foster played a crucial role in this transition and through him we gain insight into Black theatrical ambitions at a time rife with possibilities for African American creative workers, even while they were stymied by the entrenched racism of the broader culture.
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Drake, Jamil W. "Assimilating the Folk." In To Know the Soul of a People, 46–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190082680.003.0003.

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Chapter 2 chronicles the St. Helena study sponsored by University of North Carolina’s Institute for Research in the Social Sciences (IRSS) and the Social Science Research Council (SSRC) a year before the 1929 stock market crash. The St. Helena study was a comprehensive social scientific study that examined the Black yeoman farming families off the Carolina Coast. IRSS’s newly minted professor, Guy Benton Johnson, added to the field study by examining what he called the “folk” spirituals and beliefs of the families. Rejecting the African survivals thesis (à la J. G. Ballanta) and race traits (à la Howard Odum), Johnson instead argued that the Sea Island spirituals of the Black landowners were derived from white populations, dating back to the Protestant revivals and camp-meetings, particularly during the antebellum period. Johnson used the folk category to show how the Sea Island spirituals and broader revival Protestantism were products of their cultural and regional isolation from the modern worlds of transportation, radio, print culture, and motion pictures. His use of the folk was a part of the IRSS’s call for “social planning” to regionally develop the agricultural South, which included Black farmers, whom they considered invaluable to the region’s economic development. Examining the “Chapel Hill” group, “folk,” as used by Johnson, recycled racial hierarchy while seeking to privilege class and rural environment in the study of Black small landowners.
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Conference papers on the topic "Race awareness in motion pictures"

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Popescu, Dragos marian, Adrian Macovei, Marian Macri, and Andreea mihaela Popescu. "VIRTUAL ENVIRONMENT SICKNESS - A TAKE FROM AVIATION MEDICINE PERSPECTIVE." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-256.

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Virtual Environment (VR) helmets are now mainstream, and a variety of uses arose. We focus here on medical and aeronautical use, with the main goal of identifying and possible counteracting the motion sickness phenomena. Methods: A literature review of the main medical problems associated with VR displays, filtered through personal experience with spatial disorientation, NVG, flight simulators and commercial 3D and VR devices. Discussion: A brief introduction to the physiology of 3D viewing and surround visual field is presented. A history of stereoptical devices will be given, along with the problems that plagued them. Significant differences between optical (accommodation-vergence conflict, depth of focus), technological (resolution, refresh rates, flicker), and psychological problems (involvement, object consistencies) will be given. Virtual environment (VR) sickness depends on factors as realism, immersion and user presence, all required for a successful VR. Current display tech have more than one plague to hinder the perfect VR experience. The mismatch brain experience and expectation and the actual perceived input leads to cybersickness, as an extension to Reason model for motion sickness. The two has more in common than apparent, and it may have a more profound ontologic semnification that we are used to believe. Cybersickness is an unintended psychophysiological response to exposure to the perceptual illusions of virtual environments. Reported symptoms include stomach awareness, burping, salivation, drowsiness, nausea and occasionally even vomiting, as well as disorientation, dizziness, headaches, difficulty focusing, blurred vision and eyestrain. Some factors associated with the VR systems used can induce cybersickness. These include poor calibration and lags resulting from transport delay or update rate. Other factors are refresh rate, flicker, the realism of the display, and spatial properties such as field-of-view and viewing region. Human factors that influence the motion sickness are: degree of experience, participant’s interaction, immersion, flicker sensitivity, race, gender, hormonal status. Military experience with simulator sickness will be reviewed. The most encountered health effects as a general guideline for future studies (like a motion sickness chart): eye strain, general discomfort, nausea, focusing difficulty, headache. Successful usage of a VR display depends on habituation, with three key components: desenzitation, immersion and retention, last one being the hardest to achieve. A review of current commercially available technology types will be given regarding medical aspects. VR devices are useful, but on current state one must still endure. Habituation is unfortunately not transferable. We do not foresee a current operational use as yet.
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