By Janell Hobson
Analyzes how race and gender intersect within the rhetoric and imagery of pop culture within the early twenty-first century.
In Body as Evidence, Janell Hobson demanding situations postmodernist dismissals of identification politics and the delusional trust that the Millennial period displays a “postracial” and “postfeminist” global. Hobson issues to assorted examples in cultural narratives, which recommend that new media depend upon previous ideologies within the shaping of the physique politic.
Body as Evidence creates a theoretical mash-up of prose and poetry to light up the ways in which our bodies nonetheless topic as websites of political, cultural, and electronic resistance. It does so by means of interpreting a number of representations, from renowned indicates like American Idol to public figures just like the Obamas to high-profile situations just like the Duke lacrosse rape scandal to present tendencies in electronic tradition. Hobson’s learn additionally discusses the ladies who've fueled and retooled twenty-first-century media to make experience of antiracist and feminist resistance. Her discussions contain the electronica of Janelle Monáe, M.I.A., and Björk; the feminist movie odysseys of Wanuri Kahiu and Neloufer Pazira; and the embodied resistance came across easily in elevating one’s voice in tune, making a web publication, donning a veil, stripping bare, or planting a tree. Spinning wisdom out of this knowledge overload, Hobson deals a world black feminist meditation on how bodies mobilize, destabilize, and decolonize the meanings of race and gender in an more and more digitized and globalized world.
“By racializing the research of know-how, Janell Hobson brings to the leading edge a few vitally important concerns concerning the electronic divide. there's a tendency in a few parts of academia to wholeheartedly have a good time new applied sciences with out giving adequate concept to how type, gender, race, and geographical divisions have an effect on either the construction and intake ends of the chain.” — Gail Dines, coeditor of Gender, Race, and sophistication in Media: A serious Reader, 3rd variation
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Additional resources for Body as Evidence: Mediating Race, Globalizing Gender
Yet, few would argue that black musical genres—from spirituals to blues to jazz to rock ’n’ roll to hip‑hop—are anything but quintessential American music. And embedded within the foundations of black music is the black female soul singer. Consider the unnamed narrator in Ralph Ellison’s Invisible Man, who peels away the layers in Louis Armstrong’s own protest song, “Black and Blue,” to uncover the original source embodied by black female suffering: I not only entered the music but descended, like Dante, into its depths.
Jackson Jr. comments in The Chronicle Review: These days, acting is considered a kind of faked sincerity, and faking sincerity, no matter how stellar the performance, is hardly enough anymore. It is this unquenchable thirst for “the really real” that drives paparazzi’s flashbulb frenzies. Celebrity is predicated on it, this backstage access, this pretending of transparency. (Jackson Jr. 2008) The pretense of “transparency” has much in common with what Baudrillard called the “hyper real,” which becomes “more real than the real, that is how the real is abolished” (Baudrillard  1994, 81).
DuBois, necessarily shielded black women’s private lives from the public view, already inclined to distort their reality. If we have trouble hearing the black female voice ingrained in American music, then calling it the “national sound” of America might be just as risky. Yet, few would argue that black musical genres—from spirituals to blues to jazz to rock ’n’ roll to hip‑hop—are anything but quintessential American music. And embedded within the foundations of black music is the black female soul singer.