By Henry A. Giroux
Fugitive Cultures examines how formative years are being more and more subjected to racial stereotyping and violence in numerous nation-states of pop culture, specifically kid's tradition. yet instead of pushing aside pop culture, Henry Giroux addresses its political and pedagogical worth as a website of critique and studying and demands a reinvigorated serious dating among cultural experiences and people different cultural employees dedicated to increasing the chances and practices of democratic public existence.
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Extra resources for Fugitive Cultures: Race, Violence, and Youth
This kind of despair is the source of the nihilism Cornel West described. Unfortunately, the black male-as-menacefilmgenre often fails to artfully tie this nihilism to its poisonous roots in American’s system of inequality. 26 In both pedagogical and political terms, the reigning films about black youth that have appeared since 1990 may have gone too far in producing narratives that employ the commercial strategy of reproducing graphic violence and then moralizing about its effects. Violence in these films is tied to a self-destructiveness and senselessness that shocks but often fails to inform audiences about either its wider determinations or the audience’s possible complicity with such violence.
He points out that he has invented a game called a “Video Virus” in which, through the use of a special technology, he can push a button and insert himself into any screen and perform any one of a number of actions. When asked by another character what this is about, he answers: “Well, we all know the psychic powers of the televised image. ” This theme is taken up in two other scenes. In one short clip, a graduate history student shoots the video camera he is using to film himself, indicating a self-consciousness about the power of the image and the ability to control it at the same time.
And it is in the light of such an opening that the possibility exists for educators and other cultural workers to take up the relationship among culture, power, and identity in ways that grapple with the complexity of youth and the intersection of race, class, and gender formations. Before I detail more broadly what combining cultural studies with a critical pedagogical theory would mean for educators engaging a new generation of postmodern youth, I want to elaborate on the pedagogical importance of some popular youth films.