"The pieces of Cholly's life could become coherent only in the head of a musician. Only those who talk their talk through the gold of curved metal, or in the touch of black-and-white rectangles and taut skins and strings echoing from wooden corridors, could give true form to his life.
Only they would know how to connect the heart of a red watermelon to the asafetida bag to the muscadine to the flashlight on his behind to the fists of money to the lemonade in a Mason jar to a man called Blue and come up with what all of that meant in joy, in pain, in anger, in love, and give it its final and pervading ache of freedom.
"The cultural industries do have the power constantly to rework and reshape what they represent; and, by repetition and selection, to impose and implant such definitions of ourselves as fit more easily the descriptions of the dominant or preferred culture.
That is what the concentration of cultural power – the means of culture-making in the heads of the few – actually means. These definitions don’t have the power to occupy our minds; they don’t function on us as if we are blank screens.
But they do occupy and rework the interior contradictions of feeling and perception in the dominated classes; they do find or clear a space of recognition in those who respond to them.
Cultural domination has real effects - even if these are neither all-powerful nor all inclusive. If we were to argue that these imposed forms have no influence, it would be tantamount to arguing that the culture of the people can exist as a separate enclave, outside the distribution of cultural power and the relations of cultural force.
I do not believe that. Rather, I think there is a continuous and necessarily uneven and unequal struggle, by the dominant culture, constantly to disorganise and reorganise popular culture; to enclose and confine its definitions and forms within a more inclusive range of dominant forms.
There are points of resistance; there are also moments of supersession. This is the dialectic of cultural struggle. In our times, it goes on continuously, in the complex lines of resistance and acceptance, refusal and capitulation, which make the field of culture a sort of constant battlefield.
A battlefield where no once-for-all victories are obtained but where there are always strategic positions to be won and lost." --Stuart Hall, Notes on Deconstructing 'the Popular'
可能是因為基督教和殖民的關係在Black Studies(台灣是翻黑人研究嗎？)算是基礎知識，看罪人的時候對那部份感想就只有「噢」。(呃對宗教我一直都是無感到不行) Black Studies對基督教+殖民的批判推Sylvia Wynter。他在 Unsettling the Coloniality of Being/Power/Truth/Free...: Towards the Human, After Man, Its Overrepresentation--An Argument裡面解釋的挺清楚的。
Introduction 試閱
！原來去年出版了Parable of the Sower的中文版。
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聽說美國大學社會系教授有出走潮。
Rape and the Culture of the Courtroom
The Politics of Rape: The Victim's Perspective
The Ideal Victim
唷，美國國家司法研究所(NIJ)的強暴相關研究結果暫時無法下載，來看看這個暫時是多暫時XDDDD
(btw，那個研究主要是推薦司法相關人員在面對強暴案時以受害者為中心去看案件)
但看的時候瘋狂想到UCLA辦研討會的Luskin旅館
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意外聽到葛雷果裡面我最喜歡的Dies irae
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He Said/She Said: Truth-Telling and # MeToo
Neoliberal Life Narrative: From Testimony to Self-Help
Tainted Witness: Why We Doubt What Women Say About Their Lives
好簡單粗暴。它的年代和背景幫它加很多分，但電影本身......好沒有創意。隱形的連結超級直接。
呃剛好是主角目擊別人找到一具浮屍。
--My Heart is a Chainsaw, Stephen Graham Jones
如果說Blood Quantum是這幾年看過的、最喜歡的殭屍片，那Sinners應該是這幾年看過的吸血鬼片榜首。(這兩部在怪物、種族和資本主義的再現很值得一起看。) Sinners裡暴力的再現一度讓我想到Chester Himes。
&音樂的用法實在有夠動人。(話說The Nightingale和Sinners可以算是澳洲和美國對音樂-殖民-種族連結的對比嗎？不過Kent的視角本來就有點爭議啦)
雖然這段指的應該是爵士樂。
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這部後來根本哭著看完(??????)
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到時候書有出成再貼過來。
而且感覺這部呈現非裔和亞裔怎麼面對「吸血鬼」威脅的時候相當微妙，非裔是把非我族類、對我有危險的丟出去，亞裔，呃，為了自己的福祉寧願開門放鬼進來，危及所有人的性命。
--Stuart Hall, Notes on Deconstructing 'the Popular'
──比較Sinners選的愛爾蘭歌和這部的愛爾蘭歌也是很有趣的一個點。
我都是用adobe的OCR功能
那本是集結Hall過往的文章，做成讀本的形式，所以每個大章前面都還有一小段介紹那些作品和其他作品的關係，還有Hall當初寫作的背景。文章本身和我上面連結貼的一樣，差別在這個版本後面多了延伸閱讀，有推薦相關的論文。
Black Studies對基督教+殖民的批判推Sylvia Wynter。他在
Unsettling the Coloniality of Being/Power/Truth/Free...: Towards the Human, After Man, Its Overrepresentation--An Argument裡面解釋的挺清楚的。
截止日是7/1，截稿死線是10/4。