Antiblack Joy
Transmedial Sīyāh Bāzī and Global Public Spheres
Bibliographic Data
| ID | 14998404 |
|---|---|
| Authors | Parisa Vaziri (corresponding author) |
| Year | 2022 |
| Volume | 66 |
| Issue | 1 |
| Pages | 62-79 |
| Publication date | 2022-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | TDR/The Drama Review (JOURNAL) |
| Journal identifiers | ISSN: 1054-2043 • E-ISSN: 1531-4715 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1054204321000757 |
| OpenAlex | W4214511434 |
| Language | EN |
| References cited | 25 |
Maryam Khakipour’s 2004 The Joymakers and its 2008 sequel Shadi form an exemplary site for examining the dissemination and translation of Persian blackface across time, space, and media. The transmediality of sīyāh bāzī reveals a universal familiarity with the practice of blackface comedy that disrupts commonplace assumptions about its geographical and historical itinerary
Art · Art history · Blackface · Comedy · Linguistics · Literature · Cinema and Media Studies · History · Philosophy · Shakespeare, Adaptation, and Literary Criticism · South Asian Cinema and Culture
Scenes of subjection
Power, Legitimacy and the Public Sphere
Technics and Time, 1
The Shadow of God and the Hidden Imam
Theater State and the Formation of Early Modern Public Sphere in Iran
Bad Faith and Antiblack Racism
The Captive Stage
Black K-Pop
Black Politics but Not Black People
Fatty Boom Boom and the Transnationality of Blackface in Die Antwoord's Racial Project
Harlequin Jim Crow
The Jester and the Shadow of God
Evolution of Rituals and Theater in Iran
Racism and Early Blackface Comic Traditions
Connected Histories
Modern Iran
Taziyeh
Waiting to Fall
Burlesquing Blackness
Why Do They Laugh? An Interactional Approach to Humor in Traditional Iranian Improvisatory Theater
Comedy Has Issues
| Citation velocity | historical |
|---|---|
| Highly cited | No |