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dc.contributor.authorHall, Terrence Eugene
dc.date.accessioned2014-09-18T04:30:18Z
dc.date.available2014-09-18T04:30:18Z
dc.date.issued2014-05
dc.identifier.otherhall_terrence_e_201405_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/hall_terrence_e_201405_ma
dc.identifier.urihttp://hdl.handle.net/10724/30459
dc.description.abstractABSTRACT Over the past seven decades, a transformation has occurred in the racial ideology of the United States, initiated by the successes of the Civil Rights Movement. What was once a coercive ideology has become hegemonic, or “colorblind.” Using Bonilla-Silva's concept of Racial Social Structure, this project analyzes the process of this transformation as it is reflected in the artistic production of African American film directors. I have developed a sample of 29 films in four eras from the late 1930s to the present (Race Films, Blaxploitation, Spike Lee, and Tyler Perry) as the basis for this inquiry into the ways in which the change in racial ideology becomes evident particularly in the solidarity of local African American communities and in the perception of the degree to which upward mobility, or Opportunity (assessment of racial barriers to economic participation and advancement), is possible.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectRace
dc.subjectFilms
dc.subjectRacial Social Structure
dc.subjectColorblind Ideology
dc.subjectBlaxploitation
dc.subjectSpike Lee
dc.subjectTyler Perry
dc.titleFrom Tyler Texas to Tyler Perry
dc.title.alternativeracial ideology and black film
dc.typeThesis
dc.description.degreeMA
dc.description.departmentSociology
dc.description.majorSociology
dc.description.advisorJames Dowd
dc.description.committeeJames Dowd
dc.description.committeeKeith Parker
dc.description.committeeMark Cooney


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