Hoodoo economics: White men's work and black men's magic in contemporary American film

Camera Obscura

Volumn 18, Issue 2, 2003, Pages 27-55

  Hicks, Heather J ^a  

^a VILLANOVA UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33748798681     PISSN: 02705346     EISSN: None     Source Type: Journal    
DOI: 10.1215/02705346-18-2_53-27     Document Type: Review

References (9)

1. Christopher John Farley, "That Old Black Magic," Time, 27 November 2000, 14.
2. Anthony Appiah, "'No Bad Nigger': Blacks As the Ethical Principle in the Movies," in Media Spectacles, ed. Marjorie Garber, Jann Matlock, and Rebecca L. Walkowitz (New York: Routledge, 1993), 81.
3. Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs, and Women: The Reinvention of Nature (New York: Routledge, 1991), 166.
4. Elsewhere I have discussed how the "feminized" nature of security guard work - specifically its boredom and low pay - has been dramatized in another recent film obsessed with postindustrial work, Peter Cattaneo's The Full Monty (UK, 1997).
5. See my "Postindustrial Striptease: The Full Monty and the Feminization of Work," Colby Quarterly 36 (2000): 48-59.
6. Susan Faludi, Stiffed: The Betrayal of the American Man (New York: HarperPerennial, 1999), 156-57.
7. Cynthia J. Fuchs, "The Buddy Politic," in Screening the Male: Exploring Masculinities in Hollywood Cinema, ed. Steven Cohan and Ina Rae Hark (London: Routledge, 1993), 201.
8. Fuchs borrows her definition of hypermasculinity from Lynne Joyrich, "Critical and Textual Hypermasculinity," in Logics of Television: Essays in Cultural Criticism, ed. Patricia Mellencamp (Bloomington: Indiana University Press, 1990), 156-72.
9. Jay Edwards, "Structural Analysis of the Asfro-American Trickster Tale," Black American Literature Forum 15 (1981): 160.