Crowd Choreographies: Spike Lee's BlacKkKlansman (2018) and the Politics of (Post)Cinematic Assembly.
The article examines the role of crowds in early cinema and contemporary political discourse, particularly in relation to the aesthetic politics of films like Spike Lee's *BlacKkKlansman*. It discusses how historical crowd theories, influenced by figures like Gustave Le Bon and Sigmund Freud, shaped...
| Publicado en: | Discourse: Journal for Theoretical Studies in Media & Culture Vol. 46; no. 2; pp. 208 - 228 |
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| Formato: | Artículo |
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Wayne State University Press
Spring2024
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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=ssf&AN=185838039&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 185838039 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 15225321 NC3 jtl: Discourse: Journal for Theoretical Studies in Media & Culture issn: 15225321 maglogo: N pubinfo: dt: Spring2024 vid: 46 iid: 2 pid: 426 pub: Wayne State University Press artinfo: ui: 185838039 10.1353/dis.2024.a959523 ppf: 208 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 282KB tig: atl: Crowd Choreographies: Spike Lee's BlacKkKlansman (2018) and the Politics of (Post)Cinematic Assembly. aug: au: Breger, Claudia su: Black power movement Occupy Wall Street protest movement Shame Violence against women Unite the Right rally, Charlottesville, Va., 2017 Blue Lives Matter movement United States Capitol Insurrection, 2021 Choreography Chants sug: subj: Black power movement Occupy Wall Street protest movement Shame Violence against women Unite the Right rally, Charlottesville, Va., 2017 Blue Lives Matter movement United States Capitol Insurrection, 2021 Choreography Chants ab: The article examines the role of crowds in early cinema and contemporary political discourse, particularly in relation to the aesthetic politics of films like Spike Lee's *BlacKkKlansman*. It discusses how historical crowd theories, influenced by figures like Gustave Le Bon and Sigmund Freud, shaped perceptions of collective spectatorship, especially in the context of socialism and fascism. The text highlights the resurgence of crowd dynamics in recent social movements, contrasting the liberating potential of crowds with the dangers of mob violence, particularly in light of events like the January 6 Capitol riot. Through an analysis of *BlacKkKlansman*, the article explores how cinematic representations can differentiate between progressive and fascist crowds, emphasizing the importance of crowd choreographies in understanding political assembly and affective dynamics. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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