By C. Richard King, David J. Leonard
Past Hate deals a severe ethnography of the digital groups proven and discursive networks activated throughout the on-line engagements of white separatists, white nationalists, and white supremacists with quite a few renowned cultural texts, together with videos, song, tv, game, games, and kitsch. Outlining the ways that advocates of white energy interpret renowned cultural varieties, and probing the emergent areas of white strength pop culture, it examines the paradoxical dating that advocates of white supremacy have with pop culture, as they discovering it to be an impossible to resist and repugnant mirrored image of social decay rooted in multiculturalism. Drawing on more than a few new media assets, together with web pages, chat rooms, blogs and boards, this e-book explores the worries expressed via advocates of white strength, with reference to racial hierarchy and social order, the situation of conventional American values, the perpetuation of liberal, feminist, elitist principles, the degradation of the relatives and the fetishization of black males. What emerges is an figuring out of the tools of strength in white supremacist discourses, during which a sequence of connections are drawn among pop culture, multiculturalism, sexual politics and nation features, all of that are obvious to be operating opposed to white males. A richly illustrated research of the intersections of white strength and pop culture within the modern united states, and using use our on-line world by means of white supremacists as an imagined website of resistance, past Hate will entice students of sociology and cultural reviews with pursuits in race and ethnicity, pop culture and the discourses of the extraordinary correct.
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Additional info for Beyond Hate: White Power and Popular Culture (The Cultural Politics of Media and Popular Culture)
Edward Norton is a fine actor, and is quite persuasive as a strong and principled skinhead. … In fact, at no point are the racist beliefs of the main characters Derek and younger brother Daniel challenged. 25 This discussant, like so many peers, finds value in American History X for articulating white nationalist narratives and ideologies, citing several specific scenes. org, March 8, 2007. org, September 6, 2006. org, February 12, 2007. htm. 23 beyond hate in the first, Derek reacts to the murder of his father by an African American.
4 Daniels (2007), Duffy (2003), Meddaugh and Kay (2009). 5 Douglas et al. (2005), Zickmund (1997). 6 Williamson and Pierson (2003). 7 Blazak (2001), Brister (2011), Chroust (2000), Hamm (2009), Lennings et al. (2010), McCurrie (1998), Simi (2010), Simi et al. (2008). 8 Berbrier (1999), Dobratz (2006), Eziekel (1995), Simi and Futrell (2009). 9 Berlet and Vysotsky (2006), Blee (2002), Durham (2007), Perry (2000). 10 Daniels (2007), Douglas et al. (2005), Roversi (2008), Zickmund (1997). 11 Bowman-Grieve (2009), Castle and Chevalier (2011), de Koster and Houtman (2008), Meddaugh and Kay (2009), Statzel (2006).
Beyond Visibility: The Importance of Ideology and Mythology Beyond the inspiration that is found in the visibility of a powerful white nationalist manhood or the presence of movement paraphernalia, a great deal of focus rests with the film’s ability to advance racist ideologies, from its depiction of African Americans as criminal savages or its inclusion of a series of speeches that are never challenged. Just as writings or speeches online can advance the cause through educating whites about race—white supremacy— American History X was seen as particularly effective in teaching.