Hollywood at the Intersection of Race and Identity

DELIA MALIA CAPAROSO KONZETT is a professor of English, cinema, and women’s studies at the University of New Hampshire in Durham. She is the author of Ethnic Modernisms and Hollywood’s Hawaii: Race, Nation, and War. She has published in numerous critical journals on film, focusing on race, imperialism, and aesthetics. Her present work discusses race in Hollywood and its representation in mass culture.

• Introduction  Hollywood Formulas: Codes, Masks, Genre, and Minstrelsy  Daydreams of Society: Class and Gender Performances in the Cinema of the Late 1910sRuth MayerThe Death of Lon Chaney:  Masculinity, Race, and the Authenticity of DisguiseAlice MauriceMGM’s Sleeping Lion: Hollywood Regulation of the Washingtonian Slave in The Gorgeous Hussy (1936)Ellen C. ScottYellowface, Minstrelsy, and Hollywood Happy Endings: The Black Camel (1931), Charlie Chan in Egypt (1935), and Charlie Chan at the Olympics (1937)Delia Malia KonzettGenre and Race in Classical Hollywood“A Queer, Strangled Look”: Race, Gender, and Morality in The Ox-Bow IncidentJonna EagleBy Herself: Intersectionality, African American Specialty Performers, and Eleanor PowellRyan Jay FriedmanDisruptive Mother-Daughter Relationships: Peola’s Racial Masquerade in Imitation of Life (1934) and Stella’s Class Masquerade in Stella Dallas (1937)Charlene Regester  The Egotistical Sublime: Film Noir and WhitenessMatthias KonzettRace and Ethnicity in Post-World War II Hollywood  Women and Class Mobility in Classical Hollywood’s Immigrant DramasChris CagleOrientalism, Diaspora, and Indigeneity in Go for Broke! (1951)Dean Itsuji SaranillioSavage Whiteness:  The dialectic of racial desire in The Young Savages (1961)Graham CassanoRita Moreno’s HairPriscilla PeÑa OvalleIntersectionality, Hollywood, and Contemporary Popular Culture“Everything Glee in ‘America’”: Context, Race, and Identity Politics in the Glee Appropriation of West Side StoryErnesto R. Acevedo-MuÑozHip Hop “Hearts” Ballet:  Utopic Multiculturalism and the Step Up Dance FilmsMary BeltrÁnFakin da Funk (1997) and Gook (2017): Exploring Black/Asian Relations in the Asian American Hood FilmJun Okada“Let Us Roam the Night Together”: On Articulation and Representation in Moonlight (2016) and Tongues Untied (1989)Louise Wallenberg  AcknowledgmentsSelected BibliographyContributorsIndex

"Wide ranging and critically deep, Hollywood at the Intersection of Race and Identity addresses the persistence of race in Hollywood film with considerable implications for the intersection of racism, misogyny, and identity we see today on big and small screens alike."- Daniel Bernardi (editor of Race in American Film: Voices and Visions that Shaped a Nation) "This is a timely collection - forthright, expansive, and right up to date. Commonly situated at the margins of discussions of race and identity, intersectionality here is placed at the center, crucial to understanding Hollywood's uneven engagement with race, social justice, and ethics. These rigorous and generous readings of key moments across cinema history reveal Hollywood encountering and marking more fluid senses of identity than usually credited to popular film. In all this book shows how, in bell hooks's terms, Hollywood can 'make culture' in problematic, revealing, and surprisingly anticipatory ways." - Jeffrey Geiger (author of American Documentary Film: Projecting the Nation) "Konzett deserves thanks for curating another must-have book on cinema studies. Highly recommended." (Choice) "Those interested in identity politics and representation in film and media would find this helpful."  (Communication Booknotes Quarterly) "Those interested in identity politics and representation in film and media would find this helpful." (Communication Booknotes Quarterly)