Podcast appearances and mentions of kimberly fain

We engage in radical digital media literacy by enjoying a bite of education and a bit of poetry, creating humane responses to fake news and social media in the era of Covid-19.This episode was made quickly during a time of uprising following the killing of George Floyd, Ahmaud Arbery, Breonna Taylor, Tony McDade and countless other African Americans by police. It connects these serious concerns to two #100hardtruths: Black Lives Matter (#44) and Digital Participation is Reflexive (#97). For this episode, we chose to play the audio from “Situation 8,” one of a series of Situation videos Claudia made with her husband, the filmmaker John Lucas, from 2015-2017. These are multi-genre responses to contemporary America that resonate with us, not only as people, but as citizens. “Between us. Between strangers. Our civic contract states. We will act in each others best interest for no other reason. Than we are here together.” (Claudia Rankine and John Lucas, "Situation 8")Please be advised, the soundtrack from Situation 8 includes graphic audio of violence. The ethical context we suggest for this emergency is to account for our own reflexive role in these visual regimes and participate in new ways; in this instance, to not look at these and other images of viral black death, but rather to listen, breathe, attend, and then act. For more see, "How Do I (Not) Look? Live Feed Video and Viral Black Death," Alexandra Juhasz, July 20, 2016 and the response, "Viral Black Death: Why We Must Watch Citizen Videos of Police Violence," by Kimberly Fain, September 1, 2016.And then, join us in each other's best interest. We are here, online, together!Read or respond to a poem or hardtruth found at the online primer of digital media literacy, #100hardtruths-#fakenews or fakenews-poetry.org.Organize your own Fake News Poetry Workshop.Reach out with questions or content @ 100hardtruths@gmail.com.Twitter: @100HardTruthsInstagram: @100HardTruthsYouTube: 100 Hard Truths#BlackLivesMatter See acast.com/privacy for privacy and opt-out information.

While black men have been portrayed in film for over a hundred years, they have often been stereotyped or portrayed very badly. In her book Black Hollywood: From Butlers to Superheroes, the Changing Role of African American Men in the Movies (Praeger, 2015), Kimberly Fain reviews the changing aspect of... Learn more about your ad choices. Visit megaphone.fm/adchoices

While black men have been portrayed in film for over a hundred years, they have often been stereotyped or portrayed very badly. In her book Black Hollywood: From Butlers to Superheroes, the Changing Role of African American Men in the Movies (Praeger, 2015), Kimberly Fain reviews the changing aspect of these roles and the African American actors who played them. Going decade by decade, she chooses specific films that do a particularly good job of showing these shifts. She also talks about how African American men began to use their popularity in other entertainment fields to give them power in the film industry. Learn more about your ad choices. Visit megaphone.fm/adchoices

While black men have been portrayed in film for over a hundred years, they have often been stereotyped or portrayed very badly. In her book Black Hollywood: From Butlers to Superheroes, the Changing Role of African American Men in the Movies (Praeger, 2015), Kimberly Fain reviews the changing aspect of these roles and the African American actors who played them. Going decade by decade, she chooses specific films that do a particularly good job of showing these shifts. She also talks about how African American men began to use their popularity in other entertainment fields to give them power in the film industry. Learn more about your ad choices. Visit megaphone.fm/adchoices

While black men have been portrayed in film for over a hundred years, they have often been stereotyped or portrayed very badly. In her book Black Hollywood: From Butlers to Superheroes, the Changing Role of African American Men in the Movies (Praeger, 2015), Kimberly Fain reviews the changing aspect of these roles and the African American actors who played them. Going decade by decade, she chooses specific films that do a particularly good job of showing these shifts. She also talks about how African American men began to use their popularity in other entertainment fields to give them power in the film industry. Learn more about your ad choices. Visit megaphone.fm/adchoices

While black men have been portrayed in film for over a hundred years, they have often been stereotyped or portrayed very badly. In her book Black Hollywood: From Butlers to Superheroes, the Changing Role of African American Men in the Movies (Praeger, 2015), Kimberly Fain reviews the changing aspect of these roles and the African American actors who played them. Going decade by decade, she chooses specific films that do a particularly good job of showing these shifts. She also talks about how African American men began to use their popularity in other entertainment fields to give them power in the film industry. Learn more about your ad choices. Visit megaphone.fm/adchoices

While black men have been portrayed in film for over a hundred years, they have often been stereotyped or portrayed very badly. In her book Black Hollywood: From Butlers to Superheroes, the Changing Role of African American Men in the Movies (Praeger, 2015), Kimberly Fain reviews the changing aspect of these roles and the African American actors who played them. Going decade by decade, she chooses specific films that do a particularly good job of showing these shifts. She also talks about how African American men began to use their popularity in other entertainment fields to give them power in the film industry. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Colson Whitehead’s fiction has drawn varied criticism. On the one hand, there’s the scholarship of the African diaspora, a tradition that takes the long view of Whitehead–extrapolating him from their existing canon (of Du Bois, Hurston, Ellison, etc.); on the other hand, there’s the conversation on Whitehead’s work that’s happening more in the literary main stream. On Kimberly Fain‘s view, the last word is somewhere in between, and in her Colson Whitehead: The Postracial Voice of Contemporary Literature (Rowman and Littlefield, 2015), she considers a more integral fiction: one both a product of a long history and of an intermediating pop culture. The big task of Colson Whitehead is to position the fictionist as a “postracial” figure–a figure who represents a changing attitude on the concept and reality of race. What would it mean to live a really, truly colorblind America? You can see inklings in Whitehead, especially in his latter work. And while it is clear from Whitehead’s own (critical) writing that postracialism is–to us, now–still an ideal, it’s in the same writing where race begins to matter not less, but perhaps just in a different way. That race might begin to signify culture, community, a legacy in art–and something less sociopolitical or less economic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Colson Whitehead’s fiction has drawn varied criticism. On the one hand, there’s the scholarship of the African diaspora, a tradition that takes the long view of Whitehead–extrapolating him from their existing canon (of Du Bois, Hurston, Ellison, etc.); on the other hand, there’s the conversation on Whitehead’s work that’s happening more in the literary main stream. On Kimberly Fain‘s view, the last word is somewhere in between, and in her Colson Whitehead: The Postracial Voice of Contemporary Literature (Rowman and Littlefield, 2015), she considers a more integral fiction: one both a product of a long history and of an intermediating pop culture. The big task of Colson Whitehead is to position the fictionist as a “postracial” figure–a figure who represents a changing attitude on the concept and reality of race. What would it mean to live a really, truly colorblind America? You can see inklings in Whitehead, especially in his latter work. And while it is clear from Whitehead’s own (critical) writing that postracialism is–to us, now–still an ideal, it’s in the same writing where race begins to matter not less, but perhaps just in a different way. That race might begin to signify culture, community, a legacy in art–and something less sociopolitical or less economic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Colson Whitehead’s fiction has drawn varied criticism. On the one hand, there’s the scholarship of the African diaspora, a tradition that takes the long view of Whitehead–extrapolating him from their existing canon (of Du Bois, Hurston, Ellison, etc.); on the other hand, there’s the conversation on Whitehead’s work that’s happening more in the literary main stream. On Kimberly Fain‘s view, the last word is somewhere in between, and in her Colson Whitehead: The Postracial Voice of Contemporary Literature (Rowman and Littlefield, 2015), she considers a more integral fiction: one both a product of a long history and of an intermediating pop culture. The big task of Colson Whitehead is to position the fictionist as a “postracial” figure–a figure who represents a changing attitude on the concept and reality of race. What would it mean to live a really, truly colorblind America? You can see inklings in Whitehead, especially in his latter work. And while it is clear from Whitehead’s own (critical) writing that postracialism is–to us, now–still an ideal, it’s in the same writing where race begins to matter not less, but perhaps just in a different way. That race might begin to signify culture, community, a legacy in art–and something less sociopolitical or less economic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Colson Whitehead's fiction has drawn varied criticism. On the one hand, there's the scholarship of the African diaspora, a tradition that takes the long view of Whitehead–extrapolating him from their existing canon (of Du Bois, Hurston, Ellison, etc.); on the other hand, there's the conversation on Whitehead's work that's happening more in the literary main stream. On Kimberly Fain‘s view, the last word is somewhere in between, and in her Colson Whitehead: The Postracial Voice of Contemporary Literature (Rowman and Littlefield, 2015), she considers a more integral fiction: one both a product of a long history and of an intermediating pop culture. The big task of Colson Whitehead is to position the fictionist as a “postracial” figure–a figure who represents a changing attitude on the concept and reality of race. What would it mean to live a really, truly colorblind America? You can see inklings in Whitehead, especially in his latter work. And while it is clear from Whitehead's own (critical) writing that postracialism is–to us, now–still an ideal, it's in the same writing where race begins to matter not less, but perhaps just in a different way. That race might begin to signify culture, community, a legacy in art–and something less sociopolitical or less economic. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies