Carol A. Stabile – författare

Are all victims white? Are all villains black?White Victims, Black Villains traces how race and gender have combined in news media narratives about crime and violence in US culture. The book argues that the criminalization of African Americans in US culture has been most consistently and effectively legitimized by news media deeply invested in protecting and maintaining white supremacy. An illuminating, and often shocking text, White Victims, Black Villains should be read by anyone interested in race and politics.

Are all victims white? Are all villains black?White Victims, Black Villains traces how race and gender have combined in news media narratives about crime and violence in US culture. The book argues that the criminalization of African Americans in US culture has been most consistently and effectively legitimized by news media deeply invested in protecting and maintaining white supremacy. An illuminating, and often shocking text, White Victims, Black Villains should be read by anyone interested in race and politics.

How forty-one women—including Dorothy Parker, Gypsy Rose Lee, and Lena Horne—were forced out of American television and radio in the 1950s “Red Scare.”At the dawn of the Cold War era, forty-one women working in American radio and television were placed on a media blacklist and forced from their industry. The ostensible reason: so-called Communist influence. But in truth these women—among them Dorothy Parker, Lena Horne, and Gypsy Rose Lee—were, by nature of their diversity and ambition, a threat to the traditional portrayal of the American family on the airwaves. This book from Goldsmiths Press describes what American radio and television lost when these women were blacklisted, documenting their aspirations and achievements.Through original archival research and access to FBI blacklist documents, The Broadcast 41 details the blacklisted women's attempts in the 1930s and 1940s to depict America as diverse, complicated, and inclusive. The book tells a story about what happens when non-male, non-white perspectives are excluded from media industries, and it imagines what the new medium of television might have looked like had dissenting viewpoints not been eliminated at such a formative moment. The all-white, male-dominated Leave it to Beaver America about which conservative politicians wax nostalgic existed largely because of the forcible silencing of these forty-one women and others like them. For anyone concerned with the ways in which our cultural narrative is constructed, this book offers an urgent reminder of the myths we perpetuate when a select few dominate the airwaves.