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By Gouet R., Lopez F.J., Sanz G.

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In my essay “Selling Hot Pussy,” in Black Looks, I talked about how Ike constructed the whole idea of Tina Turner’s character from those television movies of Sheena, Queen of the Jungle. MFA: And you talk about how she was, in fact, anything but a wild woman. bh: I, Tina, Tina Turner’s autobiography, is so much about her tragedy—the tragedy of being this incredibly talented woman in a family that didn’t care for you. Then you meet this man who appears to really care for you, who exploits you, but at the same time, you’re deeply tied to 45 46 outlaw culture him.

MFA: Maybe we can’t imagine anything about black lives beyond that. 47 48 outlaw culture bh: We can’t imagine anything else as long as Hollywood and the structures of filmmaking keep these very “either/or” categories. The Bodyguard makes a significant break with Hollywood construction of black female characters—not because Whitney Houston has sex with this white man, but because the white man, Frank Farmer, says that her life is valuable, that her life is worth saving. Traditionally, Hollywood has said, “Black women are backdrops; they’re dixie cups.

Entertainment Weekly reported that Madonna was reluctant, but was told by her make-up artist: “This is your book. If you want to be a brunette, fine. But in black and white, blond magnifies better. ” Blond speaks, says more, when it both mirrors and embodies the white supremacist aesthetics that inform the popular imagination of our culture. Concurrently, Madonna’s appropriation of the identity of the European actress Dita and of her Germanic couture is an obvious gesture connecting her to a culture of fascism, Nazism, and white supremacy, particularly as it is linked to sexual hedonism.

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A Characteristic Martingale Relatedtothe Counting Process of Records by Gouet R., Lopez F.J., Sanz G.


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