• this is a topic that concerns IDENTITY and REPRESENTATION.
•  Empire and Colonialism.
•  Edward Said – ‘the privileged role of culture in the modern imperial experience’  + ‘an economic system like a nation or a religion, lives not by bread alone, but by beliefs, visions, daydreams as well, and these may be no less vital to it for being erroneous’
• POSTCOLONIALISM operates a series of signs maintaining the European-Atlantic power over the Orient by creating ‘an accepted grid for filtering through the Orient into Western consciousness‘.
• THE ORIENT AS THE ‘OTHER –  Jacques Lacan
• Louis Althusser – ISA’s( Ideological state apparatus) & the notion of ‘Interpellation’ – we are socially constructed
• the ruling ideology, which is the ideology of ‘the ruling class’
• Frantz Fanon – ‘mechanics of colonialism and its effects of those it ensnared‘
• Antonio Gramsci – Hegemony
• Gramsci suggests that power relations can be understood as a hegemonic struggle through culture.
• Paul Gilroy –  Double Consciousness
• As Barry notes the stress on ‘cross-cultural’ interactions is indeed a characteristic of postcolonial criticism.

Specifically looking at identity and representation through the lens of Empire and Colonialism.

In other words, postcolonial criticism challenges the assumption of a universal claim towards what constitutes ‘good reading’ and ‘good literature’; questioning the notion of a recognised and overarching canon of important cultural texts – book, poems, plays, films etc – much of which is institutionalised into academic syllabi.

‘The privileged role of culture in the modern imperial experience’ (Edward Said 1997:3)

‘We cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not.’ Jacques Lacan

Ideological state apparatus (ISA), is a theoretical concept developed by (Algerian born) French philosopher Louis Althusser which is used to describe the way in which structures of civic society – education, culture, the arts, the family, religion, bureaucracy, administration etc serve to structure the ideological perspectives of society, which in turn form our individual subject identity. 

The way in which society calls / addresses / hails you is interpellation, which is the way in which your subject identity is formed and which, more often than not, corresponds to the dominant ideology.

The Wretched of the Earth (1961), by Frantz Fanon. Talks about the mechanics of colonialism

As an early critical thinker of postcolonialism, Frantz Fanon took an active role, proposing the first step required for ‘colonialised’ people to reclaim their own past by finding a voice and an identity.

1. Assimilation of colonial culture corresponding to the ‘mother country’ Chinua Achebe talks of the colonial writer as a ‘somewhat unfinished European who with patience guidance will grow up one day and write like every other European.’ (1988:46)
2. Immersion into an ‘authentic’ culture ‘brought up out of the depths of his memory; old legends will be reinterpreted’
3. Fighting, revolutionary, national literature, ‘the mouthpiece of a new reality in action’.

Gramsci suggests that power relations can be understood as a hegemonic struggle through culture. In other words, Gramsci raises the concept of Hegemony to illustrate how certain cultural forms predominate over others, which means that certain ideas are more influential than others, usually in line with the dominant ideas, the dominant groups and their corresponding dominant interests.

Postcolonialism articulates a desire to reclaim, re-write and re-establish cultural identity and thus maintain power of The Empire – even if the Empire has gone.

Noam Chomsky indicated that ‘new forms of domination will have to be devised to ensure that privileged segments of Western industrial society maintain substantial control over global resources, human and material, and benefit disproportionately from this control.’ (cited Said, 1993:343)

Paul Gilroy is insistent that ‘we must become interested in how the literary and cultural as well as governmental dynamics of the country have responded to that process of change and what it can tell us about the place of racism in contemporary political culture.’ (2004:13) His theme of Double Consciousness, derived from W. E. B. Dubois, involves ‘Black Atlantic’ striving to be both European and Black through their relationship to the land of their birth and their ethnic political constituency.

As Barry notes the stress on ‘cross-cultural’ interactions is indeed a characteristic of postcolonial criticism. Often found by foregrounding questions of cultural difference and diversity, as well as by celebrating ‘hybridity’, ‘ambiguity’ and ‘cultural polyvalency’. A unique position where ‘individuals may simultaneously belong to more than one culture – the coloniser and the colonised’. (2016:198) Even Fanon suggests an emphasis on identity as ‘doubled, or ‘hybrid’, or ‘unstable’.

ORIENTALISM: the power to narrate, or to block other narratives from forming or emerging, is very important to culture and imperialism

the privileged role of culture in the modern imperial experience – Edward Said

Overall, POSTCOLONIALISM operates a series of signs maintaining the European-Atlantic power over the Orient by creating ‘an accepted grid for filtering through the Orient into Western consciousness‘. (Said, 1978:238)

Jacques Lacan – we cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not.

Louis Althusser: ISA’s & the notion of ‘Interpellation’ – all ideology hails or interpellates concrete individuals as concrete subjects, through the functioning of the category of the subject

Frantz Fanon mechanics of colonialism and its effects of those it ensnared

1. Assimilation of colonial culture corresponding to the ‘mother country’ Chinua Achebe talks of the colonial writer as a ‘somewhat unfinished European who with patience guidance will grow up one day and write like every other European.’ (1988:46)
2. Immersion into an ‘authentic’ culture ‘brought up out of the depths of his memory; old legends will be reinterpreted’
3. Fighting, revolutionary, national literature, ‘the mouthpiece of a new reality in action’.

Antonio Gramsci – Hegemony – However,  Gramsci suggests that power relations can be understood as a hegemonic struggle through culture. In other words, Gramsci raises the concept of Hegemony to illustrate how certain cultural forms predominate over others, which means that certain ideas are more influential than others

His theme of Double Consciousness, derived from W. E. B. Dubois, involves ‘Black Atlantic’ striving to be both European and Black through their relationship to the land of their birth and their ethnic political constituency

As Barry notes the stress on ‘cross-cultural’ interactions is indeed a characteristic of postcolonial criticism. Often found by foregrounding questions of cultural difference and diversity, as well as by celebrating ‘hybridity’, ‘ambiguity’ and ‘cultural poly-valency’. A unique position where ‘individuals may simultaneously belong to more than one culture – the colonizer and the colonized’. (2016:198) Even Fanon suggests an emphasis on identity as ‘doubled, or ‘hybrid’, or ‘unstable’.

Paul Gilroy:  ‘we must become interested in how the literary and cultural as well as governmental dynamics of the country have responded to that process of change and what it can tell us about the place of racism in contemporary political culture.’ (2004:13) His theme of Double Consciousness, derived from W. E. B. Dubois, involves ‘Black Atlantic’ striving to be both European and Black through their relationship to the land of their birth and their ethnic political constituency

Ghost Town by The Specials conveys a specific moment in British social and political history while retaining a contemporary relevance. The cultural critic Dorian Lynskey has described it as ‘’a remarkable pop cultural moment’’ one that “defined an era’’. The video and song are part of a tradition of protest in popular music, in this case reflecting concern about the increased social tensions in the UK at the beginning of the 1980s. The song was number 1 in the UK charts, post-Brixton and during the Handsworth and Toxteth riots.

Jaques Lacan – The Other

Suggests everyone goes through a mirror-phase when a person first sees their reflection, and tries to understand if the reflection is themselves. we cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not. Applying that theory to culture, communications and media studies, it is possible to see why we are so obsessed with reading magazines, listening to music, watching films, videos and television because, essentially, we are exploring ‘The Other’ as a way of exploring ourselves.

Louis Althusser

” all ideology hails or interpellates concrete individuals as concrete subjects, through the functioning of the category of the subject“

 is used to describe the way in which structures of civic society – education, culture, the arts, the family, religion, bureaucracy, administration etc serve to structure the ideological perspectives of society, which in turn form our individual subject identity.   we are socially constructed and what socially constructs us is ‘despite its diversity and contradictions . . . the ruling ideology, which is the ideology of ‘the ruling class’,’ 

Sayeed – “The Orient”

 it is possible to identify a process whereby REPRESENTATIONS of – the East /the Orient / the ‘Other’ – are CONSTRUCTED through the lens of WESTERN COLONIAL POWER. So as much as the concept and image of ‘the West’ itself, the Orient is an idea that has a history and a tradition of thought, imagery, and vocabulary that have given it reality and presence in and for the West. The two geographical entities thus support and to an extent reflect each other.

Orientalism

• the power to narrate, or to block other narratives from forming or emerging, is very important to culture and imperialism – Edward Said
• the privileged role of culture in the modern imperial experience – Edward Said
• creating ‘an accepted grid for filtering through the Orient into Western consciousness – Edward Said
• we cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not
• we are so obsessed with reading magazines, listening to music, watching films, videos and television because, essentially, we are exploring ‘The Other’ as a way of exploring ourselves.

Louis Althusser

• Ideological state apparatus (ISA)
• ISA describe the way in which structures of civic society – education, culture, the arts, the family, religion, bureaucracy, administration etc serve to structure the ideological perspectives of society, which in turn form our individual subject identity.
• the notion of ‘Interpellation’
•  the way in which your subject identity is formed and which, more often than not, corresponds to the dominant ideology.

Frantz Fanon

• The Wretched of the Earth (1961)
•  a key text in the development and ancestry of postcolonial criticism.
• mechanics of colonialism and its effects of those it ensnared – Fanon
• Assimilation of colonial culture corresponding to the ‘mother country’ Chinua Achebe talks of the colonial writer as a ‘somewhat unfinished European who with patience guidance will grow up one day and write like every other European.’ (1988:46)
• Immersion into an ‘authentic’ culture ‘brought up out of the depths of his memory; old legends will be reinterpreted’
• Fighting, revolutionary, national literature, ‘the mouthpiece of a new reality in action’.

Antonio Gramsci – Hegemony

• how certain cultural forms predominate over others, which means that certain ideas are more influential than others
• a flexible positional superiority, which puts the Westerner in a whole series of possible relationships with the Orient without ever losing him the relative upper hand – Said
• exercised through a whole set of institutions . . . the place where encounters between private individuals occur – Ibid

THE ‘OTHER’ – Lecan

•  we cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not.
• It is possible to see why we are so obsessed with reading magazines, listening to music, watching films, videos and television because, essentially, we are exploring ‘The Other’ as a way of exploring ourselves.
• The Orient is an idea that has a history and a tradition of thought, imagery, and vocabulary that have given it reality and presence in and for the West. The two geographical entities thus support and to an extent reflect each other.

Louis Althusser

• Ideological state apparatus (ISA), is a theoretical concept developed by (Algerian born) French philosopher Louis Althusser which is used to describe the way in which structures of civic society – education, culture, the arts, the family, religion, bureaucracy, administration etc serve to structure the ideological perspectives of society, which in turn form our individual subject identity
• ‘Ideology ‘acts’ or ‘functions’ in such a way to ‘recruit’ subjects among individuals . . . through the very precise operation that we call interpellation or hailing.‘

 Hegemonic struggle- Gramsci

• ‘from America, black voices will take up the hymn with fuller unison. The ‘black world’ will see the light‘ – FRANTZ Fanon
•  the first step required for ‘colonialised’ people to reclaim their own past by finding a voice and an identity.
• The second, is to begin to erode the colonialist ideology by which that past had been devalued

ORIENTALISM: the power to narrate, or to block other narratives from forming or emerging, is very important to culture and imperialism

the privileged role of culture in the modern imperial experience – Edward Said

Overall, POSTCOLONIALISM operates a series of signs maintaining the European-Atlantic power over the Orient by creating ‘an accepted grid for filtering through the Orient into Western consciousness‘. (Said, 1978:238)

Jacques Lacan – we cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not.

Louis Althusser: ISA’s & the notion of ‘Interpellation’ – all ideology hails or interpellates concrete individuals as concrete subjects, through the functioning of the category of the subject

Frantz Fanon mechanics of colonialism and its effects of those it ensnared

1. Assimilation of colonial culture corresponding to the ‘mother country’ Chinua Achebe talks of the colonial writer as a ‘somewhat unfinished European who with patience guidance will grow up one day and write like every other European.’ (1988:46)
2. Immersion into an ‘authentic’ culture ‘brought up out of the depths of his memory; old legends will be reinterpreted’
3. Fighting, revolutionary, national literature, ‘the mouthpiece of a new reality in action’.

Antonio Gramsci – Hegemony – However,  Gramsci suggests that power relations can be understood as a hegemonic struggle through culture. In other words, Gramsci raises the concept of Hegemony to illustrate how certain cultural forms predominate over others, which means that certain ideas are more influential than others

His theme of Double Consciousness, derived from W. E. B. Dubois, involves ‘Black Atlantic’ striving to be both European and Black through their relationship to the land of their birth and their ethnic political constituency

As Barry notes the stress on ‘cross-cultural’ interactions is indeed a characteristic of postcolonial criticism. Often found by foregrounding questions of cultural difference and diversity, as well as by celebrating ‘hybridity’, ‘ambiguity’ and ‘cultural polyvalency’. A unique position where ‘individuals may simultaneously belong to more than one culture – the coloniser and the colonised’. (2016:198) Even Fanon suggests an emphasis on identity as ‘doubled, or ‘hybrid’, or ‘unstable’.

Paul Gilroy is insistent that ‘we must become interested in how the literary and cultural as well as governmental dynamics of the country have responded to that process of change and what it can tell us about the place of racism in contemporary political culture.’
His theme of Double Consciousness, derived from W. E. B. Dubois, involves ‘Black Atlantic’ striving to be both European and Black

Overall, this is a topic that concerns IDENTITY and REPRESENTATION. In other words, where does our identity come from? How is our identity formed? How do we understand our own identity and how is our identity represented in the local, national and global media? You can look at another post that looks at identity, representation and the self.But here it is specifically looking at identity and representation through the lens of Empire and Colonialism.

ORIENTALISM: 

The Link between culture, imperial power & colonialism

the power to narrate, or to block other narratives from forming or emerging, is very important to culture and imperialism

Edward Said Culture and Imperialism, 1993: xiii

‘the privileged role of culture in the modern imperial experience’ (1997:3)

‘an economic system like a nation or a religion, lives not by bread alone, but by beliefs, visions, daydreams as well, and these may be no less vital to it for being erroneous’

V. G. Kiernan (American: The New Imperialism) (cit in Said, 1993:350)

‘the East becomes the repository or projection of those aspects of themselves which Westerners do not choose to acknowledge (cruelty, sensuality, decadence, laziness and so on). At the same time, and paradoxically, the East is seen as a fascinating realm of the exotic, the mystical and the seductive.’ (Barry, 2017:195)

Overall, POSTCOLONIALISM operates a series of signs maintaining the European-Atlantic power over the Orient by creating ‘an accepted grid for filtering through the Orient into Western consciousness‘. (Said, 1978:238). Or as Paul Gilroy puts it, ‘a civilising mission that had to conceal its own systematic brutality in order to be effective and attractive’ (2004:8)

Often discussed by contempoary philosopher Slavoj Zizek, the recognition of the ‘Other’ is mainly attributed the French philosopher and psychoanalyst Jacques Lacan. A good way to develop an understanding of this term is in his exploration of the mirror stage of child development, whereby, as we cannot actually see ourselves as whole, we use a reflection to understand who we are / who we are not. Lacan proposed that in infancy this first recognition occurs when we see ourselves in a mirror. Applying that theory to culture, communications and media studies, it is possible to see why we are so obsessed with reading magazines, listening to music, watching films, videos and television because, essentially, we are exploring ‘The Other’ as a way of exploring ourselves.

REPRESENTATIONS of – the East /the Orient / the ‘Other’ – are CONSTRUCTED through the lens of WESTERN COLONIAL POWER

Louis Althusser: ISA’s & the notion of ‘Interpellation’

all ideology hails or interpellates concrete individuals as concrete subjects, through the functioning of the category of the subject

Althusser (1971:190)

deological state apparatus (ISA), is a theoretical concept developed by (Algerian born) French philosopher Louis Althusser which is used to describe the way in which structures of civic society – education, culture, the arts, the family, religion, bureaucracy, administration etc serve to structure the ideological perspectives of society, which in turn form our individual subject identity. According to Althusser, ‘the category of the subject . . . is the category constitutive of all ideology’ (214:188). In other words, we are socially constructed and what socially constructs us is ‘despite its diversity and contradictions . . . the ruling ideology, which is the ideology of ‘the ruling class’,’ (2014:245)

Althusser noted that individuals often believe that they are ‘outside ideology’ and suggested the notion of ‘interpellation‘ as a way to recognise the formation of ideology. In that ideology ‘acts’ or ‘functions’ in such a way as to recruit subjects among individuals. In other words, the way in which society calls / addresses / hails you is interpellation, which is the way in which your subject identity is formed and which, more often than not, corresponds to the dominant ideology.

‘Ideology ‘acts’ or ‘functions’ in such a way to ‘recruit’ subjects among individuals . . . through the very precise operation that we call interpellation or hailing.

Althusser 2014:190

Frantz Fanon

In terms of postcolonialism, we can look at The Wretched of the Earth (1961), by Frantz Fanon, which for many (Barry, 2017, McLeod 2000 etc) is a key text in the development and ancestry of postcolonial criticism. Fanon was born in the French colony of Martinique and appears to recognise the ‘mechanics of colonialism and its effects of those it ensnared‘ (McLeod 2000:20) 

1. Assimilation of colonial culture corresponding to the ‘mother country’ Chinua Achebe talks of the colonial writer as a ‘somewhat unfinished European who with patience guidance will grow up one day and write like every other European.’ (1988:46)
2. Immersion into an ‘authentic’ culture ‘brought up out of the depths of his memory; old legends will be reinterpreted’
3. Fighting, revolutionary, national literature, ‘the mouthpiece of a new reality in action’. 

Antonio Gramsci – Hegemony

‘It is well known that Alhussser drew part of his inspiration from Gramsci’ (Althusser, 2016: xxiv) the way in which class relations and subject is ‘exercised through a whole set of institutions . . . the place where encounters between private individuals occur.’ (ibid)

 Gramsci suggests that power relations can be understood as a hegemonic struggle through culture. In other words, Gramsci raises the concept of Hegemony to illustrate how certain cultural forms predominate over others, which means that certain ideas are more influential than others, usually in line with the dominant ideas, the dominant groups and their corresponding dominant interests. In terms of postcolonialism Said, notes how ‘consent is gained and continuously consolidated for the distant rule of native people and territories’ (1993:59).

Case Study: Letter to the Free

Common is an Oscar and Grammy award winning hip/hop rap artist who wrote Letter to the Free as a soundtrack to The 13th – a documentary by Ava DuVernay named after the American 13th amendment (the abolition of slavery). His output is highly politicised, existing in the context of a variety of social and cultural movements aimed at raising awareness of racism and its effects in US society (e.g.: Black Lives Matter). Letter to the Free is a product which possesses cultural and social significance. It will invite comparison with other music videos allowing for an analysis of the contexts in which they are produced and consumed.

• Q1:How can you apply the concept of Orientalism to Common’s Letter to the Free? 
• Q2: Can you apply Fanon’s 3 phase plan of action to this music video?
• Q3: How is the audience called / addressed / hailed (interpellated)? Use examples from both the lyrics and the visual grammar (shot, edit, mise-en-scene) to show how audiences are drawn into a specific subject position / ideological framework?

Syncretism, double consciousness & hybridisation

mechanisms for understanding cross-cultural identities.

“Ain’t No Black In The Union Jack” — A proposal for a new flag for the UK and other socially engaged art work by Gil Mualem-Doron

Paul Gilroy is insistent that ‘we must become interested in how the literary and cultural as well as governmental dynamics of the country have responded to that process of change and what it can tell us about the place of racism in contemporary political culture.’ (2004:13) His theme of Double Consciousness, derived from W. E. B. Dubois, involves ‘Black Atlantic’ striving to be both European and Black through their relationship to the land of their birth and their ethnic political constituency

As with much postcolonial criticism the aim to understand and reconcile individual and national identity. Gilroy highlights Enoch Powell’s notorious 1968 ‘rivers of blood speech’ full of the ‘terrifying prospect of a wholesale reversal of the proper ordering of colonial power . . . intensified by feelings of resentment, rejection, and fear at the prospect of open interaction with others.’ (2004:111) 

Barry notes the stress on ‘cross-cultural’ interactions is indeed a characteristic of postcolonial criticism. Often found by foregrounding questions of cultural difference and diversity, as well as by celebrating ‘hybridity’, ‘ambiguity’ and ‘cultural polyvalency’. A unique position where ‘individuals may simultaneously belong to more than one culture – the coloniser and the colonised’. (2016:198) Even Fanon suggests an emphasis on identity as ‘doubled, or ‘hybrid’, or ‘unstable’.

• Q1: Where can you identify ‘hybridity’, ‘ambiguity’ and ‘cultural polyvalency’ in this music video? 
• Q2: How does this text apply to Fanon’s 3 phase plan of action?
• Q3: How is the audience called / addressed / hailed (interpellation)? Use examples from both the lyrics and the visual grammar (shot, edit, mise-en-scene) to show how audiences are drawn into a specific subject position / ideological framework?

Specifically looks at identity and representation of empire and colonialism, The shadow of the Atlantic slave trade.(started in 1400’s)

The need for mass labour the europeans looked to africa.

African kings sold , criminals as slaves to build up there own country.

Due to men being used as slaves there was a massive impact on the demographics of africa, meaning there are more older woman than men.

TODAYS NEWS- Bristol- wealthy from trading slaves, built from the money made, slave trader statue pulled down of Edward Colston. The death of George Floyd (African American)- caused multiple protests in the streets, black lives matter, failed system (white American in the police force killed George) Still relevant today- Dave (artist) wrote a song about inequality between black people and white people. Performed at the brits awards 2020. Sang about the representation of black people.

Orientalism; The Link between culture, imperial power & colonialism.

Edward Said- “the privileged role of culture in the modern imperial experience” Normative values

“the power to narrate, or block other narratives from forming or emerging, is very important to culture and imperialism.” – by telling white people ‘ black people are inhuman, savages and slavery is good’ they will eventually listen to your narrative/stories.

‘the East is seen as a fascinating realm of the exotic, the mystical and the seductive.’- When westerners step outside of their ‘world’ they believe they can act a certain way that they wouldn’t usually at home.

‘the East becomes the repository or projection of those aspects of themselves which Westerners do not choose to acknowledge (cruelty, sensuality, decadence, laziness and so on)’

Post-colonalism developed in the 1990’s- is about challenging the universal claims.

Orientalism- Europeans seemed to be superior, similar to sterotyping eg; Donald trump- banned muslims from entering American because he stereotyped them by saying they all hate Americans. Orient- ‘the others’

Jacques Lacan, philosopher and mathematician (1901)- ‘you cannot see yourself only a copy/ reflection of yourself to understand who you are and who you are not.’- Mens Health, men trying to understand themselves through other people. Other people judge you from what is on the outside rather than the inside. “interlay misunderstood” ” alone and will never be able to express myself the way i want to” The mirror stage- when you first seen yourself in the mirror usually when you are young.

How does this link to orientalist- duality- the two geographical entities support and in some ways reflect each other. The way in which they ‘paint’ each other what is the narrative? The rational vs the irrational. Orientalism- is like a lens how people are seen by others.

Louis Althusser- ISA’s (Ideological state apparatus) and the notion of interpellation. [eg-family is a ISA, education,] “We are socially constructed”

‘the ruling people’- ideas filtered through people from top down. (dominant ideology)

Frantz Fanon- ‘Mechanics of colonialism and its effects of those it ensnared‘ when he remembers how he felt when, in France, white strangers pointed out his blackness, his difference, with derogatory phrases such as ‘dirty Nigger!’ or ‘look, a Negro!’ – interpellation/hailing.

black face- white performers wearing black makeup on their face and mocking black people. Top-hat, and long tail coat. Jim crow was born, made people believe that black people are lazy and animals.

reclaim their own past by finding a voice and an identity

Antonio Gramsci- Hegemony; process of culture and control. Idea of shift and change,  power relations can be understood as a hegemonic struggle through culture.

How can this link to our csp’s- The letter to the free- “the other” is seen in the music video as a black floating square in the first scene

Paul Gilroy- his theme of double consciousness- ideas from W.E.B Dubois. The colour line, made it hard for whites to see black people as americans.

letter to the free- David Olusoga talks about black British , slavery was abolished however still had to work 45 hours a week for there former slave trader and slave traders were also compensated over 17 billion pounds(overall) for the loss of their ‘property’ aka slaves.

equal justice initative- quotes, a narrative of white supremacy was created.

slavery was abolished however grew in the south from 40,000-435,000

link to letter to the free- slavery carried pn, forced incarnation. Amendment 13- slavery not prohibited only as a punishment of crime

Jim crow laws- racial segregation

Paul Gilroy- double consciousness, how can you be black and British, separation/segregation. Eg- George Floyd black american– however was killed by another american, hybrid both black and american.

W.E.B. Du Bois- 1900 originated the words hybridization and double consciousness. Racism has an effect on identity. This makes it hard for individuals to see themselves as anything other than what white people portray them as.

The specials, Ghost Town- two tone band, hybrid , black and white music (pop and reggae) links to double conscious.

Ghost town- social discontent

“Ghost Town” (1981) by the band ‘The Specials’ is an ironic take on the isolation and fall out in Britain at that current time. This song was the first British multi race production as it contained Jamaican ska brought over in the late 40’s creating a hybrid of styles of music which also contained elements of reggae and a two tone beat which was the trend at the time. This representation of Britain’s emerging multiculturalism, is reinforced through the eclectic mix of stylistic influences in both the music and the video. 

Using Todorov’s reception theory to follow the plot of the music video you can see the the Equilibrium begins in an empty city with deserted streets and buildings as the cinematography focus’ on establishing isolation. The reason the cities are deserted are because of the Handsworth and Toxteth riots which took place in Birmingham due to lack of employment and boredom. Shortly into the music video the disruption occurs with changes in pitch in the vocals, music and driving ability as they steer frantically to avoid potential supernatural beings which can be heard in the screams by the vocalist during the chorus as well as low sombre moments where the shadow of the car is projected which presents the opportunity to see a shadow of any being following them but of course ghosts supposedly don’t have shadows which can confuse the view as they attempt to connect to an invisible antagonist. Eventually they escape and make it to the beach leaving the grey bland and dull urban landscape where supernatural beings chase and scare the group.

mix of British and Jamaican music

britians first multi racial music

The video and song are part of a tradition of protest in popular music, in this case reflecting concern about the increased social tensions in the UK at the beginning of the 1980s. The song was number 1 post-Brixton and during the Handsworth and Toxteth riots.

The aesthetic of the music video, along with the lyrics, represents an unease about the state of the nation, one which is often linked to the politics of Thatcherism but transcends a specific political ideology in its eeriness, meaning that it has remained politically and culturally resonant.

two tone music was the trend

The representations in the music video are racially diverse. This reflects its musical genre of ska, a style which could be read politically in the context of a racially divided country. This representation of Britain’s emerging multiculturalism, is reinforced through the eclectic mix of stylistic influences in both the music and the video. 

First Jamaican settlers who arrived in 1948 Brought a wave of musicians to the uk and Brough ska used by the specials which is lively.

mise en scene- dark and gloomy, very bland, little colour. the car looks like a hearse which could infer the environment is deathly dangerous or that the coffin leads to a deadly outside world at the time which leads to death at the protests. the people inside the cars are wearing full suits which is ominous and suggests death or the supernatural linked to ghosts which is pointed out in the name of the song

Cinematography: At the beginning they show loads of empty buildings and streets which is ominous and run with the theme of a ghost town. the camera shakes when there is a ghost like scream which suggests we should be afraid
or that the ghost is controlling the deathly car as they drive and steer frantically as if they are running or avoiding super natural beings. also when they drive through the tunnel the colours shapes and lines of the lights remind me of the ghosts that packman’s plays which of course was a popular game around the time of realest of the song. they also show the shadow of the car at a low point of the song to suggest they are currently safe from danger for the time being until the climax.

equilibrium begins in a deserted city with no one in the streets

the disruption is running into “supernatural beings” and having to avoid and drive from them

new equilibrium on the beach away from danger showing colour and the sea/ beach which is a positive and shows end and a peaceful resolution

suspense with the music going low waiting for a climax as they creep through a dangerous area