By Henry A. Giroux
Fugitive Cultures examines how formative years are being more and more subjected to racial stereotyping and violence in a variety of geographical regions of pop culture, in particular kid's tradition. yet instead of disregarding pop culture, Henry Giroux addresses its political and pedagogical worth as a website of critique and studying and demands a reinvigorated severe courting among cultural experiences and people different cultural staff devoted to increasing the chances and practices of democratic public lifestyles.
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Extra resources for Fugitive Cultures: Race, Violence, and Youth
This theme is taken up in two other scenes. In one short clip, a graduate history student shoots the video camera he is using to film himself, indicating a self-consciousness about the power of the image and the ability to control it at the same time. In the concluding scene, a carload of people, each equipped with a Super-8 camera, drive up to a large hill and throw their cameras into a canyon. The film ends with the images being recorded by the cameras, as they cascade to the bottom of the cliff in what suggests a moment of release and liberation.
I’ve traveled . . ”Irony slightly overshadows a refusal to imagine the needs of anyone outside the self, forcefully precluding any kind of collective struggle. Reality seems too despairing to care about. This is humorously captured in one instance by a young man who suggests:“You know how the slogan goes, workers of the world, unite? ”People talk but appear disconnected from themselves and each other; lives traverse each other with no sense of community or connection. At rare moments in the film, the political paralysis of narcissistic forms of self-absorption is offset by instances in which some characters recognize the importance of the image as a vehicle for cultural production, as a representational apparatus that can not only make certain experiences WHITE PANIC AND THE Copyrighted Material RACIAL CODING OF VIOLENCE available but can also be used to produce alternative realities and social practices.
But in Kids, as in a number of recent films modeled after River’s Edge, attempts to transgress and rupture middle- and workingclass depictions of youth often slip too easily into a cynicism that has as its only defense an appeal to artistic expression. Kids continues a long cinematic tradition of viewing youth as dull, aimless, and shorn of any idealism. As critic Jon Pareles points out,“ i n Kids . . teen-agers [are] no longer treated as a problem to be recognized and solved but as something chronic and inevitable....