This book offers a critical survey of film and media representations of black masculinity in the early twenty-first-century United States, between President George W. Bush's 2001 announcement of the War on Terror and President Barack Obama's 2009 acceptance of the Nobel Peace Prize. It argues that images of black masculine authority have become increasingly important to the legitimization of contemporary policing and its leading role in the maintenance of an antiblack social order forged by racial slavery and segregation. It examines a constellation of film and television productions-from Antoine Fuqua's Training Day to John Lee Hancock's The Blind Side to Barry Jenkin's Moonlight-to illuminate the contradictory dynamics at work in attempts to reconcile the promotion of black male patriarchal empowerment and the preservation of gendered antiblackness within political and popular culture.
A brief commentary on the necessity and the impossibility of black men's participation in the development of black feminist theory and politics, Black Men, Black Feminism examines the basic assumptions that have guided-and misguided-black men's efforts to take up black feminism. Offering a rejoinder to the contemporary study of black men and masculinity in the twenty-first century, Jared Sexton interrogates some of the most common intellectual postures of black men writing about black feminism, ultimately departing from the prevailing discourse on progressive black masculinities. Sexton examines, by contrast, black men's critical and creative work-from Charles Burnett's Killer of Sheep to Jordan Peele's Get Out- to describe the cultural logic that provides a limited moral impetus to the quest for black male feminism and that might, if reconfigured, prompt an ethical response of an entirely different order.
