[1] The occasional Black woman is crazy or lives in the projects—see, for instance, The Matrix.

[2] Jules, in Pulp Fiction, is not overtly magical, though he does survive in a rather uncanny manner in order to spirit the magic briefcase away. Also, the Black/White pairing in the film diverges a bit from the other later magical pairings addressed in this article because the White character dies—earlier in the film though after the ending restaurant scene in chronological time.

[3] As in the case of Whites in the U. S., appropriating “the vocabulary…musical and religious styles (and the labor) of African Americans” (237).

[4] I’m suggesting that the magical Black character reflects a White backlash against the projected demographic numbers mentioned earlier in the article. Such racial tensionsin the U.S. would inevitably be played out on a White/Black stage.

[5] “The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother’s keeper and a finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee.”

Works cited

Bamboozled. Dir. Spike Lee. New Line Cinema, 2000.

Bogle, Donald. Toms, Coons, Mulattoes, Mammies & Bucks: An Interpretive History of Blacks in American Films. New York: Continum Publishing Company, 1973.

Dogma. Dir. Kevin Smith. Lion’s Gate, 2000.

Driving Miss Daisy. Dir. Bruce Beresford. Warner Brothers, 1989.

Dyer, Richard. White. Routledge: London and New York, 1997.

The Family Man. Dir. Brett Ratner. Universal Pictures, 2000.

Fiedler, Leslie. “Come Back to the Raft Ag'in, Huck Honey!” Partisan Review 25 (June 1948): 664-671.

The Green Mile. Dir. Frank Darabont. Warner Brothers, 1999.

Guerrero, Ed. Framing Blackness: The African American Image in Film. Temple University Press: Philadelphia, 1993.

Hollywood Shuffle. Dir. Robert Townsend. Samuel Goldwyn Company, 1987.

The Legend of Bagger Vance. Dir. Robert Redford. Dreamworks SKG, 1999.

The Matrix. Dir. Andy Wachowkski. Warner Brothers, 1999.

Monster’s Ball. Dir. Marc Forster. Lion’s Gate Films, 2001.

Morrison, Toni. Playing in the dark: whiteness and the literary imagination. Harvard University Press: Cambridge, 1992.

O Brother, Where Art Thou?. Dir. Joel Cohen. Touchstone Pictures, 2000.

Pulp Fiction. Dir. Quentin Tarantino. Miramax, 1994.

Reid, Mark. Redefining Black Film. University of California Press: Berkeley, 1993.

The Royal Tenenbaums. Dir. Wes Anderson. Touchstone Pictures, 2001.

Shawshank Redemption. Dir. Frank Darabont. Warner Brothers, 1994.

Shohat, Ella and Stam, Robert. Unthinking Eurocentrism: Multiculturalism and the media. Routledge: London and New York, 1994.

Stow, Harriet Beecher. Uncle Tom’s Cabin. Serialized in The National Era: Brunswick, Maine, 1851.

To Sleep With Anger. Dir. Charles Burnett. Samuel Goldwyn Company, 1990.

Training Day. Dir. Antoine Fuqua. Warner Brothers, 2001.

Unbreakable. Dir. M. Night Shyamalan. Touchstone Pictures, 2001.

Unforgiven. Dir. Clint Eastwood. Warner Brothers, 1992.

Wag the Dog. Dir. Barry Levinson. New Line Cinema, 1998.

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