You Are To Take One Or Two Of The Artistic Pieces That Are N

You Are To Take One Or Two Of The Artistic Pieces That Are Named Below

You are to take one or two of the artistic pieces that are named below (or, you may find an equivalent artistic piece that also deals with similar issues of race) and: deconstruct it, critique it, compare it, analyze it, using the methodological tools of analyzing racism that we have learned through the readings and lectures. From among these are: White privilege, structural racism, Race as social construct, the racial contract, racial moral cognitive dysfunction/double standards of morality and empathy based on race, epistemology of forgetfulness. The theories that we have dealt with are going to be the central piece. They are the lenses by which you will analyze the artistic pieces. You must refer back to our readings in depth to support your understanding of the theories.

Paper For Above instruction

In this analytical paper, I will explore two artistic pieces—"Malcolm X" the film and the mural at the Church of the Advocate—and employ critical theories of racism to dissect, critique, and compare their representations of race and social justice issues. This effort aims to elucidate how art encapsulates, challenges, or perpetuates systemic racial structures when viewed through the lens of contemporary critical frameworks, such as white privilege, structural racism, and the social construction of race.

Introduction

Art has historically served as a mirror and a weapon in the societal struggle against racial injustice. Both "Malcolm X" and the murals at the Church of the Advocate offer profound insights into the African American experience and broader systemic racial issues. By deconstructing these works through critical theories—including the racial contract, white privilege, and epistemology of forgetfulness—I seek to reveal underlying societal truths and the mechanisms that sustain racial inequality. The integration of these theories provides a lens to critique how racial narratives are constructed and challenged in visual and cinematic representations.

Analysis of "Malcolm X"

The film "Malcolm X," directed by Spike Lee, chronicles the life of Malcolm X and exemplifies the powerful use of cinema to challenge dominant racial narratives. The film depicts Malcolm X’s journey from a product of systemic oppression to a radical advocate for Black empowerment. Employing the theory of white privilege, the film underscores systemic advantages enjoyed by white Americans that perpetuate racial disparities. Malcolm X’s critique of the racial contract—the social agreement that privileges white life at the expense of Black lives—resonates throughout his speeches and life story portrayed in the film.

Furthermore, the film interrogates epistemologies of forgetfulness, illustrating how societal amnesia about slavery, segregation, and ongoing racial violence sustains ignorance among oppressors and the oppressed alike. Spike Lee’s visual storytelling deliberately exposes the double standards of morality and empathy based on race. Malcolm’s critique of double standards—where white society can commit violence without moral consequence—exposes structural racism embedded within the justice system and cultural institutions.

Analysis of the Murals at the Church of the Advocate

The murals at the Church of the Advocate serve as a powerful visual narrative of Black struggle, resilience, and faith. They visually depict historical moments of racial oppression and resistance, contextualizing African American history within a framework of social activism. Analyzing these murals through the lens of the racial contract illuminates how societal structures marginalize Black communities while elevating white supremacy.

The murals challenge the epistemology of forgetfulness by vividly portraying stories often omitted from mainstream history—such as slave revolts, civil rights activism, and Black spiritual resilience. They critique the double standards of racial morality, exposing the disparities in societal perceptions of violence, protest, and heroism based on race. Furthermore, the murals exemplify resistance against structural racism by visually asserting Black agency and voice in a space dedicated to faith and social justice, thus confronting the institutionalized silence about racial injustices.

Comparison of the Works

Both "Malcolm X" and the murals stand as potent critiques of systemic racism, though through distinct mediums—film and visual art. "Malcolm X" offers a narrative that challenges viewers to critically examine the racial contract and white privilege on a personal and societal level. Its storytelling humanizes the consequences of structural racism, fostering empathy and understanding.

The murals, on the other hand, serve as an immediate visual counter-narrative—an act of visual resistance that refuses to forget or silence black struggles. They embody a collective memory that resists the epistemology of forgetfulness, emphasizing that racial injustice is documented, remembered, and contested in public space.

Both pieces critique the double standards of morality—highlighting that society often perceives Black resistance as violent or unrighteous while excusing white violence. This comparison reveals the power of art—whether cinematic or visual—to expose, critique, and challenge oppressive racial structures.

Conclusion

Using critical theories of racism, this analysis demonstrates how "Malcolm X" and the murals at the Church of the Advocate function as tools of resistance and critique. They unearth and challenge the societal narratives that uphold white privilege and structural racism while confronting the epistemology of forgetfulness. Art, in both its cinematic and mural forms, serves as an essential site for articulating Black resistance and fostering social transformation through critical reflection and historical memory.

References

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