Editors' introduction: remembering blackly.
Shows like Moesha and Fresh Prince both fictionalized and revealed the twentieth-century dreams of Black folks who like Moesha's family had just established themselves in Lamert Park or like Will had recently left gang and drug-infested urban streets. Friends like Tony and Joan or Khadijah and Maxin...
| Publicado en: | Cultural Studies Vol. 38; no. 3; pp. 357 - 364 |
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| Autores principales: | , |
| Formato: | Artículo |
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Taylor & Francis Ltd
May2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=176243865&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176243865 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09502386 05G jtl: Cultural Studies issn: 09502386 maglogo: N pubinfo: dt: May2024 vid: 38 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 176243865 10.1080/09502386.2023.2261951 ppf: 357 ppct: 7 formats: fmt: – @attributes: type: T – @attributes: type: P size: 746KB tig: atl: Editors' introduction: remembering blackly. aug: au: Halliday, Aria Greene Wade, Ashleigh affil: Gender and Women's Studies, University of Kentucky, Lexington, KY, USA Media Studies, University of Virginia, Charlottesville, VA, USA su: African American women Friendship Feminism Music & culture Nostalgia sug: subj: African American women Friendship Feminism Music & culture Nostalgia keyword: blackness film future past television ab: Shows like Moesha and Fresh Prince both fictionalized and revealed the twentieth-century dreams of Black folks who like Moesha's family had just established themselves in Lamert Park or like Will had recently left gang and drug-infested urban streets. Friends like Tony and Joan or Khadijah and Maxine typified the friendships that many Black women had just developed in college settings like A Different World. They dated people like Lynn, Kyle, or Martin and created the material wealth that generations past could not access. These Black cultural productions positioned Black people, their conversations and their aspirations, as part of a larger project of inclusion and made our dreams seem possible. Remembering or engaging anew with Black cultural production of the 1990s and 2000s via streaming platforms re-introduced these dreams and the ways that the 'too-rough fingers of world' had made them immaterial. Seeing them again, with our new twenty-first-century eyes, forced us to bring our concerns to social media, to visual art and to music – sites where we continue to think, aspire and work collectively to manifest Black futures. The essays in this special issue then take seriously the complex nuances of remembering Blackly through and beyond these cultural productions. We charged the authors to think critically about nostalgia and how Black cultural production in Western contexts has not only shaped our understanding of contemporary discourses, but also in how we shape the future based on the (remembered) past across Black cultures. We hope that these essays provide further insight into the ways our contemporary moment will continue to shape our present and future renderings of the past. In addition, we envision that the authors' ideas will affect how we access those pasts. Black nostalgia will mould our understanding of everything we think we remember. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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