‘Race’, identity and cultural criticism
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‘Race’, identity and cultural criticism book
One of the concerns of this study has been to indicate some of the significant omissions in previous analyses of ‘race’ and representation in British cinema and to reveal the extent to which racial and sexual difference structures critical perspectives. I have argued that it is necessary to trace Britain’s colonial past in order to elucidate this process, and demonstrated that this approach has not been adequately developed in previous analyses of British film. Little has been written regarding the racialized discourses of British cinema from 1959 to 1986, and, as I have argued in my prefatory remarks, where studies have raised issues of ‘race’ these have most frequently been concerned with negative and positive images and elaborations thereof. In discussing history and colonial discourse, the racialization of sexuality and gender, and their implication in British cinematic practice I have tried to challenge the assumptions and absences in conventional feminist film analyses. I have argued that it is necessary to recognize the ways in which histories are repeated, enacted and permeate contemporary cultural production. Thus, I have analysed and discussed films on the basis that a cinematic text cannot be attributed exclusively to those directly involved in its production but should be analysed as part of a complex web of interrelated experiences, ideas, fantasies and unconscious expressions of desire, anxiety and fear that need to be located in their historical, political and social contexts.