This essay examines U.S. blackface performance in the twentieth century through the lens of Adorno's mass culture critiques, specifically of jazz music. Despite being rooted in the divisive logic of antiquated live performance traditions, blackface as a racist glyph flourishes in the technologically mediated social environment of the twentieth century. By replacing Adorno's critique of jazz with a direct investigation of blackface, the essay argues for a more materialist approach to minstrelsy studies that acknowledges both circulation and accumulation as oppressive hegemonic forces.
| Identifer | oai:union.ndltd.org:arizona.edu/oai:arizona.openrepository.com:10150/621513 |
| Date | 06 July 2016 |
| Creators | Byrne, Kevin |
| Contributors | Univ Arizona, Sch Theater Film & Televis |
| Publisher | ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD |
| Source Sets | University of Arizona |
| Language | English |
| Detected Language | English |
| Type | Article |
| Rights | © 2016 International Society for the Study of European Ideas |
| Relation | https://www.tandfonline.com/doi/full/10.1080/10848770.2016.1200275 |
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