Image shared on social media.ĭecolonizing film has a long history. White privilege and the curriculum’s hierarchies of core and elective course. Institutional responses can add to the problem Since university “diversity and inclusion” schemes can be counterproductive, film educators-graduate teaching assistants, instructors, lecturers, professors-can compensate in courses and curricula. Education needs to prepare students for a world that is not only more interdependent, but also more divisive with the rise of nationalism and more dangerous with the climate crisis, income inequality, and pandemics. The Oscars and other major media institutions largely define “merit” in ways that disempower and even delegitimize perspectives that call into question their power. “a dual process of both deprovincializing Africa, and in turn provincializing Europe.”įilm educators need to provincialize White-Western-serving institutions and de-provincialize a large number of not-White and not-Western ones that define merit in different terms. They must “fall” in the sense that Sabelo Ndlovu-Gatsheni argues Rhodes must fall in The Oscars are one example of White-Western-serving film institutions, including BAFTA (British Academy of Film and Television Arts) and festivals, including Berlin, Cannes, IDFA (International Documentary Festival Amsterdam), Sundance, and Venice. This article questions why film educators-alongside critics, distributors, exhibitors, and makers-often describe films and filmmakers as being nominated or winning an Oscar without examining how the awards define merit. Many students and faculty, however, experience and witness palpable, tangible, and undeniable connections between curriculum and violence, often on a daily basis. Some university administrators struggle to understand connections between “our curricula” and “their violence.” Racism is always elsewhere. A White man rolls white paint over images of activists Harriet Tubman, Malcolm X, and Martin Luther King, Jr. They cite Simone de Beauvoir, Angela Davis, and Paulo Freire, refusing to accept what Jonathan Harris’s painting Critical Race Theory (2021) makes literal: a whitewashing of Black history. “Why is your history part of the core curriculum and mine an elective?” With social media, student protests become memes, asking administrators and faculty a central question: They did not initiate it, yet they are included in school and university curricula whereas Black contributions to arts and sciences are not. presidents Abraham Lincoln and Lyndon Johnson signed anti-slavery and anti-racism legislation. They also lack knowledge about Black contributions to ending slavery and winning civil rights. That summer, students across the United States joined the Black Lives Matter (BLM) movement, raising questions that White and other not-Black people might not see Black victims of police violence because Black perspectives have been erased from education. The Rhodes Must Fall movement galvanized efforts to decolonize curricula. In March 2015, students across South Africa continued work begun by a generation that sacrificed secondary-school education to fight Apartheid. Pambazuka News: Voices for Freedom and Justice. ![]() ![]() Rhodes Must Fall protest, September 2019. #OscarMustFall: on refusing to give power to unjust definitions of “merit” The liberal White man Dean Armitage (Bradley Whitford), auctioning Chris Washington (Daniel Kaluuya) as a slave in Get Out! Predatory White gaze of Philomena King (Geraldine Singer) onto LaKeith Stanfield as Andre Logan King in Get Out!ĭead gaze of Betty Gabriel as Georgina in Get Out!ĭaniel Kaluuya as Chris Washington, feeling threatened by liberal White folks in Get Out! Michael Haneke), though this one actually confronts whitewashing history. ![]() Quentin Tarantino).Ĭaché (France/Austria/Germany/Italy, 2005 dir. Inglourious Basterds (Germany/USA, 2009 dir. Three whitewashed ideas of merit-worthy filmmaking: Jonathan Harris’s Critical Race Theory (2021) as viral image. As an African American director known for her film Selma, she was asked by Netflix to make a documentary on topic of her choice. It is not a topic taught in many schools. Ava DuVernay's feature-length documentary, 13th, gives the history of mass incarceration of Black men in the U.S.
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