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Cake day: August 4th, 2023

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  • That’s definitely a big part, but it’s both. Like white flight out of cities and insisting on a detached suburban home, the other part of the story is that cars represent “social worth” for many in North America.

    It’s why car people become so angrily defensive, and fight even modest changes. Cars aren’t just functional. They represent a cherished value system. Their worth as a person is tied up with their car.

    That said, just like diamond rings and smoking, even this weird cultural norm was bought by industry advertising. We’re social apes, who do things to feel important and valued, even when it otherwise makes no sense.
















  • This is also how I read it. I actually really appreciate attacking the idea of “white as default”. It’s kind of like how some gamers think representing anything besides the “default” demographic is “political”.

    I think this is the more revealing excerpt:

    This is the defining irony of white film-making. The more oblivious your film is to matters of race, the whiter it plays. Because whiteness is often exactly that: the freedom not to see race, even when it’s right there in front of you.

    Basically, being aware of whiteness makes for less racist movies. There’s nothing wrong with white movies, but it’s wrong when white movies pretend they’re not white, but universal and default. The article concludes:

    Instead, our twofold expectation should be this: 1) The industry affords more film-makers of colour the same creative freedoms and commercial opportunities that are now afforded white film-makers, and 2) That the film culture – including the film-makers themselves – develop the confidence, insight and language to discuss and dethrone white cinema.

    This does not sound like racist dog-whistling or white supremacy to me.