The Prison of Popular Culture
Rethinking the Seventy-Fourth Annual Academy Awards
Bibliographic Data
| ID | 8390198 |
|---|---|
| Authors | Donna Murch (corresponding author) |
| Year | 2003 |
| Volume | 33 |
| Issue | 1 |
| Pages | 25-32 |
| Publication date | 2003-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The Black Scholar (JOURNAL) |
| Journal identifiers | ISSN: 0006-4246 • E-ISSN: 2162-5387 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/00064246.2003.11413201 |
| OpenAlex | W2253760052 |
| Language | EN |
| Citations received | 3 |
| References cited | 1 |
Erin Kaplan summed up the general disappointment of many when she remarked wryly for the LA Weekly, It was Negro Night at the Oscars. The academy made history in giving the big awards to Black actors who between them portrayed a gangster and a ho. What's it all mean?1 Her critique calls attention to how larger issues of representation frame the seventy-fourth annual Academy awards. Given the myriad performances by black actors that the Academy has ignored over the years, their choice of Monster's Ball and Training Day as vehicles is striking.2
Art history · Criminology · Disappointment · Media studies · Monster · Political science · Politics · Prison · Representation (politics · Sociology · Cinema and Media Studies · Gender Studies · History · Law · Psychology · Race, History, and American Society · Social Psychology · Theater, Performance, and Music History
| Citations per year | 0.16 |
|---|---|
| Citation span | 2007 - 2021 (15) |
| Highly cited | No |