1.2 Winter 2017
Jeremy R. Ricketts
. . . the film is a colonizing narrative that uses a controlling gaze to justify the theft of Mexican land and render the Mexican male an object of colonial domination . . .
Kyle David Byron
He leaned one sign against the side of the stool, “JESUS SAVES,” and placed the other on the opposite side, “Evolution is a LIE, JESUS is LIFE.” He emptied his backpack behind the portable pulpit . . .
. . . this narrative might obscure earlier encounters between white cultural rebels and the black cultures of resistance that nurtured hipness.