Abstract
John Singleton's 2001 version of the blaxploitation film Shaft reinterprets this iconic representation of Black masculinity within an explicit and self-conscious treatment of the problem of racism. The film moves from a powerfully counter-stereotypical opening scene into a nominal indictment of racism that ultimately reinstates overtly racist stereotypes and privileges racist viewpoints. This paradoxical, multivalent representation of race marks an expansion of the trope of “modern racism”: an expansion that articulates with neo-liberal discourses of race.
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