In the “Race and Film” course I teach at my home university, after providing them with relevant readings dealing with whiteness, many of my white students acquire the knowledge to identify many of the intra - lmic ways in which whiteness obfuscates its power and privilege. However, once we move from the lmic space of racial dynamics to the quotidian world of their own experiences, they fail to grasp (or refuse to grasp) the various ways in which they are privileged and deemed unraced. It is imperative to

turn the visual and conceptual acuity, achieved while watching lm, inward, to look deep inside their own lives, to examine their thoughts and feelings. However, within the extra - lmic domain of lived experience, they become defensive, obstinate, and fail to mark their whiteness in ways that would reveal their complicity vis-à-vis white privilege and power. They nd it dif- cult to see (or to accept) the ways in which they are embedded within white supremacist structures. Moreover, they fail to see how our collective narrative myth that depicts us as autonomous, atomic individuals, free of all racial prejudices, is linked to and conditioned by whiteness as the transcendental norm. As a result, there is a translation disjunct, so to speak, between the intra lmic world of race prejudice and whiteness, and their own lives and how they are embedded within actual racist sociohistorical practices that shape their lives and how they have come to embody unconscious assumptions in relationship to people of color. So, whereas lm has proven indispensable as a medium through which to motivate my white students to become aware of how whiteness operates, I have found it politically and ethically imperative to encourage them to ask themselves: What does this lm say to me as a white person? Or, how does this lm function as a site of racist interpellation whereby I am deemed guilty or innocent because I am white?