By Daniel Bernardi
Top students handle the myriad ways that America's attitudes approximately race knowledgeable the construction of Hollywood motion pictures from the Twenties in the course of the Nineteen Sixties. From the predominantly white megastar method to segregated mise-en-sc?nes, Hollywood motion pictures strengthened institutionalized racism. The participants to this quantity study how assumptions approximately white superiority and coloured inferiority, and the politics of segregation and assimilation affected Hollywood's vintage interval. members: Eric Avila, UCLA; Aaron Baker, Arizona kingdom U; Karla Rae Fuller, Columbia university; Andrew Gordon, U of Florida; Allison Graham, U of Memphis; Sarah Madsen Hardy, Bryn Mawr; Joanne Hershfield, U of North Carolina; Arthur Knight, William and Mary; Gina Marchetti, U of Maryland; Gary W. McDonough; Chandra Mukerji, UC, San Diego; Martin F. Norden, U of Massachusetts; Brian O'Neil, U of Southern Mississippi; Roberta E. Pearson, Cardiff U; Marguerite H. Rippy, Marymount U; Nicholas Sammond; Beretta E. Smith-Shomade, U of Arizona; Peter Stanfield, Southampton Institute; Kelly Thomas; Herman Vera, U of Florida; Karen Wallace, U of Wisconsin, Oshkosh; Thomas E. Wartenberg, Mount Holyoke; Cindy Hing-Yuk Wong, collage of Staten Island, CUNY; Geoffrey White, U of Hawai'i; and Jane Yi. Daniel Bernardi is assistant professor within the division of Media Arts on the collage of Arizona.
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Additional resources for Classic Hollywood, Classic Whiteness
The Polski Theater is replaced with the European theater of operations, and the actors are left without a script, forced to improvise. Cast adrift in a new social order even crueler than the bitter imaginary of Hamlet, they stumble through a burlesque of subterfuge in which the Nazis are both audience and costars, the success of which depends upon their ability to pass as those who would kill them. 13 In contrast, the constitution of an identity based on European superiority, of passing directly into whiteness, requires a different kind of work more like that of high-modern theater.
21 22 NICHOLAS SAMMOND AND CHANDRA MUKERJI SILETSKY: In the ﬁnal analysis, all we’re trying to do is create a happy world. And people who don’t want to be happy have no place in this happy world. Well, that makes sense. MARIA: SILETSKY: We’re not brutal. We’re not monsters. Now tell me, do I look like a monster? MARIA: Of course not, professor. SILETSKY: We’re just like other people. We like to sing. We like to dance. We admire beautiful women. We’re human . . and sometimes very human. Siletsky suggests to Maria Tura that becoming a collaborator is really just a matter of acting the part, of entertaining: all the props will be provided.
BRONSKI: GREENBERG: Carry Ravitch off in the last act. BRONSKI: How I’d like to drop that ham right in the center of the stage. GREENBERG: It’d get a terriﬁc laugh. 26 Of course, we know that Greenberg is a Jew . . but what kind of Jew? He has been given the name of a German (not Polish) Jew. He keeps kosher. He is always looking for the cheap laugh. 28 While one could argue that Lubitsch needed to convey to a white American audience that Greenberg’s Jewishness was important, it was not important enough to be referred to directly or to be made a signiﬁcant component of the plot (as it would in Mel Brooks’s 1983 remake of the same title).
Classic Hollywood, Classic Whiteness by Daniel Bernardi