Please read and annotate in anticipation of the Final Exam:
Presentation:
TV Tokenism from Spiro Bolos
CLICK HERE FOR A SET OF LINKS TO ARTICLES RELATED TO TELEVISION & RACE.
Assignment:
Student Presentation:
Consider the myth of American progress: why are these kinds of people's movements less possible in today's context?
Think carefully about the depiction of African-Americans in this 1915 film, a favorite of President Woodrow Wilson and America's first "blockbuster".
As mentioned in class, William Eggleston was a pioneer in utilizing color photography as an artistic medium.
From American Suburb X, "the subjects would mean far less if they were presented in black and white."
For example:
WARNING: the link to Doug Rickard's site, American Suburb X, will be blocked on school network-connected computers because of the content on certain (other) pages of that website.
“The portrait [photo] was a forceful ‘weapon of choice’ in the struggle against racism and segregation.”
– Maurice Berger
Please watch the following video (full-screen, if possible):
Gordon Parks - Segregation Series from Spiro Bolos on Vimeo.
http://www.poetryfoundation.org/poem/177167
Shirt
The back, the yoke, the yardage. Lapped seams,
The nearly invisible stitches along the collar
Turned in a sweatshop by Koreans or Malaysians
Gossiping over tea and noodles on their break
Or talking money or politics while one fitted
This armpiece with its overseam to the band
Of cuff I button at my wrist. The presser, the cutter,
The wringer, the mangle. The needle, the union,
The treadle, the bobbin. The code. The infamous blaze
At the Triangle Factory in nineteen-eleven.
One hundred and forty-six died in the flames
On the ninth floor, no hydrants, no fire escapes—
The witness in a building across the street
Who watched how a young man helped a girl to step
Up to the windowsill, then held her out
Away from the masonry wall and let her drop.
And then another. As if he were helping them up
To enter a streetcar, and not eternity.
A third before he dropped her put her arms
Around his neck and kissed him. Then he held
Her into space, and dropped her. Almost at once
He stepped to the sill himself, his jacket flared
And fluttered up from his shirt as he came down,
Air filling up the legs of his gray trousers—
Like Hart Crane’s Bedlamite, “shrill shirt ballooning.”
Wonderful how the pattern matches perfectly
Across the placket and over the twin bar-tacked
Corners of both pockets, like a strict rhyme
Or a major chord. Prints, plaids, checks,
Houndstooth, Tattersall, Madras. The clan tartans
Invented by mill-owners inspired by the hoax of Ossian,
To control their savage Scottish workers, tamed
By a fabricated heraldry: MacGregor,
Bailey, MacMartin. The kilt, devised for workers
To wear among the dusty clattering looms.
Weavers, carders, spinners. The loader,
The docker, the navvy. The planter, the picker, the sorter
Sweating at her machine in a litter of cotton
As slaves in calico headrags sweated in fields:
George Herbert, your descendant is a Black
Lady in South Carolina, her name is Irma
And she inspected my shirt. Its color and fit
And feel and its clean smell have satisfied
Both her and me. We have culled its cost and quality
Down to the buttons of simulated bone,
The buttonholes, the sizing, the facing, the characters
Printed in black on neckband and tail. The shape,
The label, the labor, the color, the shade. The shirt.
Robert Pinsky, “Shirt” from The Want Bone. Copyright © 1990 by Robert Pinsky. Reprinted with the permission of HarperCollins Publishers Inc.
