Algorithms Of Oppression
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Algorithms of Oppression
Acknowledgments -- Introduction: the power of algorithms -- A society, searching -- Searching for Black girls -- Searching for people and communities -- Searching for protections from search engines -- The future of knowledge in the public -- The future of information culture -- Conclusion: algorithms of oppression -- Epilogue -- Notes -- Bibliography -- Index -- About the author
White Bound
Author: Matthew Hughey
language: en
Publisher: Stanford University Press
Release Date: 2012-08-22
Discussions of race are inevitably fraught with tension, both in opinion and positioning. Too frequently, debates are framed as clear points of opposition—us versus them. And when considering white racial identity, a split between progressive movements and a neoconservative backlash is all too frequently assumed. Taken at face value, it would seem that whites are splintering into antagonistic groups, with differing worldviews, values, and ideological stances. White Bound investigates these dividing lines, questioning the very notion of a fracturing whiteness, and in so doing offers a unique view of white racial identity. Matthew Hughey spent over a year attending the meetings, reading the literature, and interviewing members of two white organizations—a white nationalist group and a white antiracist group. Though he found immediate political differences, he observed surprising similarities. Both groups make meaning of whiteness through a reliance on similar racist and reactionary stories and worldviews. On the whole, this book puts abstract beliefs and theoretical projection about the supposed fracturing of whiteness into relief against the realities of two groups never before directly compared with this much breadth and depth. By examining the similarities and differences between seemingly antithetical white groups, we see not just the many ways of being white, but how these actors make meaning of whiteness in ways that collectively reproduce both white identity and, ultimately, white supremacy.
The Hollywood Jim Crow
The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.