Comparing the spheres of representation and experience, we examine the challenges and usefulness of these concepts, and feminist fat studies perspectives more broadly, to feminist scholarship on the body. This article brings together two concepts, ‘phantom fat’ and ‘liminal fat’, which both aim to grasp how fat in contemporary culture becomes a kind of material immateriality, corporeality in suspension. This article goes beyond a content analysis of the songs to underscore how core transformations in Nigeria’s democratic process since 1999, when civil rule was reintroduced, have shaped the circumstances under which hip hop artists rethink their sexualization and commodification of women’s bodies. In this article, I examine some of the rare instances in which Nigerian male hip hop artists have used their talent and poetic license to call attention of the public to the economic and socio-political disenfranchisement of women. The themes and narratives of twenty-first century African hip hop mirror similar global forms in their conception and glorification of fandom, stardom, commodification and sexualization of women’s bodies, violence, and superfluous display of wealth. Hip hop, a popular genre of musical expression, which borrowed extensively from Western and African idioms and iconography of power and social relations, took a decisive turn. The twenty-first century ushered in a new era in African popular culture. Anaconda and Formation can be seen to answer each these critiques respectively, when seen connected to and employing strategies of Black feminist theories of pleasure, queer of color critique, and Black feminist politics of coalition among marginalised subjects. The key question then becomes: how do Anaconda and Formation participate in, re-imagine and work as Black feminist thought, understood as complex and dynamic? The article outlines three main critiques directed at the videos: selling out to white people and capitalism promotion of white, heteronormative body ideals while appropriating queer of color culture and involvement in so-called ‘reverse oppression’. Collins suggests that in order to challenge traditional forms of white male knowledge production, other forms of expression than academic writing should also be considered theory. Instead, the two music videos are considered as creative works of Black feminist thought, following Patricia Hill Collins (2009). The article argues that the epistemic habit of asking this question often works counterproductively and stabilises the boundaries of feminism. One catching piece of praise for the movie comes in the form of Pierce Brosnan, who seems to be getting singled out for his turn as fellow Justice Society of America member Kent Nelson/Doctor Fate.The article examines two recent music videos by Black female artists, Nicki Minaj’s Anaconda (2014) and Beyoncé’s Formation (2016), and the heated online discussions around them about whether they are feminist or not. Our own critic called it down the line, saying, that while it’s “not a top-tier superhero movie I still had a good time from beginning to end, and Johnson is really good. At a short (by comic book movie standards) 124 minutes, Black Adam probably at least feels brisk. By early indications, this could be about where Black Adam winds up, with a probably edge towards a worthwhile watch.Įarly praise is citings its action sequences, Dwayne “The Rock” Johnson’s lead performance and pacing. There, too, are the middle of the road entries, like Birds of Prey. There are some strong ones, but reception of the movies has been all over the place, with many either having been bashed by critics and moviegoers alike ( Suicide Squad) or having failed to live up to expectations ( Wonder Woman 1984). The DC Extended Universe has had a rough time garnering the fans of the Marvel Cinematic Universe.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |