6. “HEY, HEY, HEY!” Bill Cosby’s Fat Albert as Psychodynamic Postmodern Play

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Acknowledgments ix
4. Introduction: I See Black People 1
5. PART I. PRODUCING BLACKNESS
6. 1. The Importance of Roots 19
7. 2. Two Different Worlds: Television as a Producer’s Medium 33
8. 3. A Black Cast Doesn’t Make a Black Show: City of Angels and the Plausible Deniability of Color-blindness 49
9. 4. Blacks in the Future: Braving the Frontier of the Web Series 63
10. PART II. BLACKNESS ON DEMAND
11. 5. “Regular Television Put to Shame by Negro Production”: Picturing a Black World on Black Journal 77
12. 6. “HEY, HEY, HEY!” Bill Cosby’s Fat Albert as Psychodynamic Postmodern Play 89
13. 7. Gimme a Break! and the Limits of the Modern Mammy 105
14. 8. Down in the Treme . . . Buck Jumping and Having Fun?: The Impact of Depictions of Post-Katrina New Orleans on Viewers’ Perceptions of the City 121
15. PART III. NEW JACK BLACK
16. 9. Keepin’ It Reality Television 141
17. 10. Prioritized: The Hip Hop (Re)Construction of Black Womanhood in Girlfriends and The Game 157
18. 11. Nigger, Coon, Boy, Punk, Homo, Faggot, Black Man: Reconsidering Established Interpretations of Masculinity, Race, and Sexuality Through Noah’s Arc 172
19. 12. Graphic Blackness/Anime Noir: Aaron McGruder’s The Boondocks and the Adult Swim 187
20. PART IV. WORLDWIDE BLACKNESS
21. 13. Resistance Televised: The TV da Gente Television Network and Brazilian Racial Politics 207
22. 14. South African Soapies: A “Rainbow Nation” Realized? 220
23. 15. Minority Television Trade as Cultural Journey: The Case of New Zealand’s bro’Town 232
24. Notes on Contributors 247
25. Index 251