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Katherine Whitehurst - Precious: Identity, Adaptation and the African-American Youth Film

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Precious: Identity, Adaptation and the African-American Youth Film: summary, description and annotation

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Examining how the discourses of youth, race, poverty and identity take shape when Push is adapted to the big screen, this book brings together valuable research to delve into representations of African-American girlhood.

The book draws attention to how Black girlhood takes shape in the film under the dominant White discourses that racialise non-White bodies, and examines how these discourses inform a critical reception of the film and Precious, as a Black girl. Through a consideration of Black culture and heritage, it questions what narratives of girlhood, growth and development are afforded to the main character, in a film that is informed by neoliberal and colour-blind discourses. Highlighting the social context in which Precious was received, the book draws attention to how a discussion of Precious in the critical press gives insight into the racial politics that were dominant at the time of the films release. It considers whether race impacts how the film engages with, reflects and moves beyond conventions within the genre of youth film.

Concise and engaging, this vital book sheds light on underrepresented areas of film studies that make it an invaluable resource for students and scholars of film, race and youth cultures.

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Precious Examining how the discourses of youth race poverty and identity - photo 1
Precious
Examining how the discourses of youth, race, poverty and identity take shape when Push is adapted to the big screen, this book brings together valuable research to delve into representations of African-American girlhood.
The book draws attention to how Black girlhood takes shape in the film under the dominant White discourses that racialise non-White bodies, and examines how these discourses inform a critical reception of the film and Precious, as a Black girl. Through a consideration of Black culture and heritage, it questions what narratives of girlhood, growth and development are afforded to the main character, in a film that is informed by neoliberal and colour-blind discourses. Highlighting the social context in which Precious was received, the book draws attention to how a discussion of Precious in the critical press gives insight into the racial politics that were dominant at the time of the films release. It considers whether race impacts how the film engages with, reflects and moves beyond conventions within the genre of youth film.
Concise and engaging, this vital book sheds light on underrepresented areas of film studies that make it an invaluable resource for students and scholars of film, race and youth cultures.
Katherine Whitehurst is a lecturer in media and film at the University of Liverpool. Her research centres on adaptation; fairy tales; child, youth and age studies; screen and literature; girlhood and identity; cultural memory; feminism; and gender.
Cinema and Youth Cultures
Series Editors: Sin Lincoln and Yannis Tzioumakis
Cinema and Youth Cultures engages with well-known youth films from American cinema as well the cinemas of other countries. Using a variety of methodological and critical approaches the series volumes provide informed accounts of how young people have been represented in film, while also exploring the ways in which young people engage with films made for and about them. In doing this, the Cinema and Youth Cultures series contributes to important and long-standing debates about youth cultures, how these are mobilized and articulated in influential film texts and the impact that these texts have had on popular culture at large.
The Beatles and Film
From Youth Culture to Counterculture
Stephen Glynn
Clerks
Over the Counter Culture and Youth Cinema
Peter Templeton
Moonlight
Screening Black Queer Youth
Maria Flood
The Commitments
Youth, Music, and Authenticity in 1990s Ireland
Nessa Johnston
Precious
Identity, Adaptation and the African-American Youth Film
Katherine Whitehurst
For more information about this series, please visit: www.routledge.com/Cinema-and-Youth-Cultures/book-series/CYC
First published 2022
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa business
2022 Katherine Whitehurst
The right of Katherine Whitehurst to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Whitehurst, Katherine, author.
Title: Precious : identity, adaptation and the African-American youth film /
Katherine Whitehurst.
Description: Abingdon, Oxon ; New York : Routledge, 2022. | Series:
Cinema and youth cultures | Includes bibliographical references and index.
Identifiers: LCCN 2021043629 (print) | LCCN 2021043630 (ebook) |
ISBN 9781138681859 (hardback) | ISBN 9781032209487 (paperback) |
ISBN 9781315545547 (ebook)
Subjects: LCSH: Precious (Motion picture) | African Americans in motion
pictures. | Girls in motion pictures.
Classification: LCC PN1997.2.P733 2022 (print) | LCC PN1997.2.P733
2022 (ebook) | DDC 791.45/72dc23/eng/20211013
LC record available at https://lccn.loc.gov/2021043629
LC ebook record available at https://lccn.loc.gov/2021043630
ISBN: 978-1-138-68185-9 (hbk)
ISBN: 978-1-032-20948-7 (pbk)
ISBN: 978-1-315-54554-7 (ebk)
DOI: 10.4324/9781315545547
Typeset in Times New Roman
by Apex CoVantage, LLC
Frontispiece: Precious: based on the novel Push by Sapphire. Courtesy Lee Daniels/Kobal/Shutterstock
Contents
1 Adapting Push to Precious
2 Precious and the conventions of youth films
3 Precious and narratives of girlhood (denied)
4 Precious critical reception and the landscape of colour-blind racism
Conclusion
  1. 1 Adapting Push to Precious
  2. 2 Precious and the conventions of youth films
  3. 3 Precious and narratives of girlhood (denied)
  4. 4 Precious critical reception and the landscape of colour-blind racism
  5. Conclusion
Guide
Figures
  • 1.1 The focalisation on Carl from Precious perspective
  • 1.2 Visualisation of how welfare has helped Mary
  • 2.1 Precious hand is held by a friend
  • 2.2 The films representation of Precious transformation through education
  • 2.3 Precious imagined desirability
  • 2.4 Precious imagined romance
  • 3.1 Mary holding Precious as an infant
  • 3.2 Mary and Precious shared affection
  • 3.3 Mary and Precious growing distance
  • 3.4 Precious isolation in childhood
  • 4.1 Mary when she attends the welfare office to reconnect with Precious
Series editors introduction
Despite the high visibility of youth films in the global media marketplace, especially since the 1980s when Conglomerate Hollywood realised that such films were not only strong box office performers but also the starting point for ancillary sales in other media markets as well as for franchise building, academic studies that focused specifically on such films were slow to materialise. Arguably, the most important factor behind academias reluctance to engage with youth films was a (then) widespread perception within the Film and Media Studies communities that such films held little cultural value and significance, and therefore were not worthy of serious scholarly research and examination. Just like the young subjects they represented, whose interests and cultural practices have been routinely deemed transitional and transitory, so were the films that represented them perceived as fleeting and easily digestible, destined to be forgotten quickly, as soon as the next youth film arrived in cinema screens a week later.
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