Abstract
This chapter examines the place of commercial black filmmaking in the cultural politics of the post–civil rights era United States and argues that a material and symbolic reassertion of antiblackness in public policy and popular culture has accompanied the clamor about “blacks in officialdom” that both neoliberal multiculturalism and neoconservative colorblindness have amplified over the last generation. The guises of black empowerment, particularly images of black masculinity as state-sanctioned authority, are viewed as extensions of the illegitimacy, dispossession, and violence that seem to otherwise monopolize the signification of racial blackness. Antoine Fuqua’s Training Day (2001) provides a case study and the director’s broader professional career articulates the structural conditions for an antiblack black visibility on a global scale.
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