Abstract

This essay examines Spike Lee's Inside Man in a post-9/11 context. Contrary to reviews that saw the film as apolitical entertainment, it argues that Lee, disguising his former didacticism as escapism, maintains a politically engaged approach to filmmaking in his depictions of ethno-racial tensions in a globalized United States.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 39-58
Launched on MUSE
2010-12-15
Open Access
No
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