Abstract

Contrary to the view that Stuart Hall’s involvement in the visual arts was a supplement to his work in cultural studies and political analysis, this reflection addresses key continuities that connect his 1970s writings on racism and the media with the enlivening impact that the hybrid aesthetics put forward by black British artists, photographers, and filmmakers from the 1980s onward had on Hall’s theoretically distinctive approach to diasporic questions of identity and ethnicity.

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Additional Information

ISSN
1534-6714
Print ISSN
0799-0537
Pages
pp. 76-87
Launched on MUSE
2015-03-28
Open Access
No
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