YorkSpace
York University's Institutional Repository
    • English
    • français
  • English 
    • English
    • français
  • Login
View Item 
  •   YorkSpace Home
  • Faculty of Graduate Studies
  • Electronic Theses and Dissertations (ETDs)
  • Women's Studies
  • View Item
  •   YorkSpace Home
  • Faculty of Graduate Studies
  • Electronic Theses and Dissertations (ETDs)
  • Women's Studies
  • View Item
JavaScript is disabled for your browser. Some features of this site may not work without it.

Brown Cowboys on Film: Race, Heteronormativity and Settler Colonialism

Thumbnail
View/Open
Jafri_Beenash_2014_PhD.pdf (1.792Mb)
Date
2015-01-26
Author
Jafri, Beenash

Metadata
Show full item record
Abstract
This dissertation analyzes minority-produced westerns as examples of settler cinemas. Though they are produced by subjects at the margins of settler society, I argue that settler colonialism is, nonetheless, a significant cultural context shaping these films. The dissertation intervenes into existing film studies scholarship, which has tended to frame settler colonialism as the historical context structuring the racial oppression of Native Americans, rather than as a constitutive feature of all forms of racial subjugation. As a result, the connections and investments of other racialized subjects within the dynamics of settler colonialism have received limited attention. Drawing on queer, race and Native American/Indigenous studies, the dissertation develops and deploys an intersectional framework for examining film that illuminates the fraught relationship between racialized minorities, Indigenous peoples and settler colonialism.

To make its argument, the dissertation examines three sets of films: black westerns, South Asian diaspora films, and Jackie Chan’s martial arts westerns. In each chapter, I consider how existing film scholarship has read these respective films before offering an alternative interpretation that draws attention to their settler colonial contexts. For example, black westerns have been interpreted in terms of anti-racist historical revisionism; South Asian diasporic films have been analyzed in terms of their liminal position between Hollywood and Bollywood film industries; and Jackie Chan’s western parodies have been interpreted in terms of postmodern mimicry. My own analysis suggests that settler colonialism is exercised through cultural fantasies – which I term heterocolonialities – such as those of property ownership, heterosexual romance, family and “settling down”. I demonstrate that representations of the racialized cowboy in the minority-produced western play an ambiguous function in relation to ongoing colonialism. On the one hand, these representations normalize colonial violence when the heteronormative fantasies underpinning the western genre are left intact. On the other hand, representations of the racialized cowboy pose challenges to colonial violence by drawing attention to the discourses of race and whiteness informing the western genre. This ambiguity highlights the complex ways in which racialized minorities negotiate their position in settler societies, simultaneously challenging and supporting the logics of colonial power.
URI
http://hdl.handle.net/10315/28221
Collections
  • Women's Studies

All items in the YorkSpace institutional repository are protected by copyright, with all rights reserved except where explicitly noted.

YorkU LogoContact Us | Send Feedback
Sitemap for search engines

 

Browse

All of YorkSpaceCommunities & CollectionsBy Issue DateAuthorsTitlesSubjectsThis CollectionBy Issue DateAuthorsTitlesSubjects

My Account

LoginRegister

Statistics

View Usage Statistics

All items in the YorkSpace institutional repository are protected by copyright, with all rights reserved except where explicitly noted.

YorkU LogoContact Us | Send Feedback
Sitemap for search engines