{"id":161,"date":"2017-01-18T01:15:12","date_gmt":"2017-01-18T01:15:12","guid":{"rendered":"http:\/\/miriamposner.com\/classes\/dh150w17\/?p=161"},"modified":"2017-01-18T01:15:12","modified_gmt":"2017-01-18T01:15:12","slug":"a-reflection","status":"publish","type":"post","link":"http:\/\/miriamposner.com\/classes\/dh150w17\/2017\/01\/18\/a-reflection\/","title":{"rendered":"A Reflection"},"content":{"rendered":"

George P. Johnson’s collection is truly a window into a place and time, much lost to us today. Before our readings last week, I had no knowledge of the existence of African-American silent films. Even more, I was shocked to discover the breadth of content in these films. Despite their low budget and small audience, “race films” strove to move beyond racial stereotypes and towards social and political discussions. As noted in the “History of Early African American Film,” “African-American characters deeply engaged in the political and intellectual life of the day, debating racial uplift and waging philanthropic campaigns.” It’s this\u00a0aspect of race films that touches upon the topic of materiality.<\/span><\/p>\n

When most people talk about ‘material’\u00a0<\/span>things, they often refer to the physicality of an item. But what about art that has little or no physicality; does it have materiality? In the article from The Chicago School of Media Theory, Hong discusses the redefining of materiality and its deeper meanings. One interpretation directly relates to George P. Johnson’s collection.<\/span><\/p>\n

Hong notes how Marx broadens the meaning of material; “Greek art presupposes Greek mythology, i.e. nature and the social forms already reworked in an unconsciously artistic way by the popular imagination.\u00a0<\/span>This is its material.”\u00a0<\/span><\/em><\/span><\/p>\n

In a sense, the racial tensions, politics, and social norms during the making of race films presupposes their existence. If not for the racism and segregation experienced by African-Americans, there would have been no need to have race films; the Black community would have been an equal member in the production of mainstream film. Thus, Johnson’s collection certainly a kind of materiality.<\/span><\/p>\n

Exploring this further, it seems that to understand and be deeply affected by Johnson’s collection, having knowledge of the history of racism in America is crucial. But, as Steven Conn considers, when museums display historical items there is an issue around which perspective (of history) to represent. Even more problematic, when culture is represented, there runs the issue of excluding those outside of the culture represented.<\/span><\/p>\n

I believe its important to keep these two things in mind when displaying a collection like George P. Johnson’s. It’s not only a piece of American history, but a part of African American heritage. We must strive to show it accurately, be sensitive to those whose heritage is being display, and frame the exhibit so that any person can connect with its content.<\/span><\/p>\n

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The link provided is a very informative video about race films.<\/p>\n