...Deborah R. Grayson Copyright © 1995 by Indiana University Press 1995 My head. Photo by Charles Moore. Is it Fake?: Black Women’s Hair as Spectacle and Spec(tac)ular Deborah R. Grayson But if a woman have long hair, it is a glory to...

... without a veil, adapting their advertising accordingly. While this may seem straightforward, the complexity lies in the extent to which women's hair is considered “unrepresentable” in practice and in the paradoxes of presenting the veil on-screen while still demonstrating the product's benefits. A...

... Controversies and Lesbian Locks Julie Levin Russo Hillary Rodham Clinton is well acquainted with the travails of divadom. In her 2001 commencement address at Yale University, she told the graduating seniors, “The most important thing that I have to say today is that hair matters. . . . Pay...

.... ERRATA Camera Obscura/3-4 Francine Winham, who was one of the four filmmakers who made Rapunzel, Let Down Your Hair, should have been mentioned as also having directed: Put Yourself in My Place (1973) Careless Love (1975) Hell Girl House (Co-directed, 1975) Galaxy’s Last...

... association with this color is provided by her reddish-brown hair. Various other aspects of the set and the chief character’s clothing make up the second half of this muted two-color palette. The hall is papered in a blue-gray figured wallpaper. The lutchen has blue-green curtains. The walls of...

... to the importance of naming and politicizing representations of Black women in visual culture. In “Is it Fake? Black Women’s Hair as Spectacle and Spec(tac)ular,” which serves to introduce the range of issues these essays confront, Deborah Grayson describes the ways Black women’s hair...

... tale also suggests the complexities of the mother-daughter relationship. The film, Rapunzel, Let Down Your Hair, by dissecting, re-telling, and re-interpreting the Grimm Brothers’ fairy tale, attempts to bring out not only the symbolism of the story but to transform it...

.... Noliwe Rooks is an Assistant Professor of English and the coordinator of African American Studies at the University of Missouri, Kansas City. Her first book, Hair Raising: Beauty, Culture, and African American Women was published by Rutgers University Press (1996). Marla Shelton is a Phd...

... + as she lies on the ground. t/ Awomanseen outsidewith 12 mcu f.rn + N wind blowing her hair. C/) ::J ::J...

... their hair. Contemplat- ing the coifs of divas real and imaginary — Hillary Rodham Clin- ton, Kathryn Janeway/Kate Mulgrew, and Olivia Benson/Mariska Hargitay — Julie Levin Russo discovers that if hair doesn’t exactly make the diva, the type of diva you become can be decided by the hair. Hair...

... group of women with fantastically long hair are put to work in inventive, surreal re-­creations of the industrial assembly line. Critics often underscore the motifs of labor and manufacture in Rottenberg’s videos, invoking Taylorism, the “sweatshop,” “a blue-­collar work ethic,” and “the sense...

... troupe the Cockettes, wearing eight-foot gauze wings and an egret-feather headdress and singing an old Ethel Waters tune while the hippie children, passing jugs of wine and joints, go wild. Cut to Sylvester, backed by a band of scruffy, white, long- haired rock and rollers, singing Neil Young and...

... similar physiques, personalities, hair, coloring, and sexualized dress. Beauty as the beast: The tragic-murderous “mulatta” Adventure or “thrill” in cinema is often linked to violence. The very existence of the “mulatta” suggests and represents sexual violence. Tapping...

... in which I starred as Love, lip-synching “Softer Softest” with baby barrettes in my hair while staggering across a stage in a torn baby-doll dress: “I got a blister from / touching every thing I see / The abyss opens up / It steals everything from me.” Such sensitivity from a woman who...

..., and a hat adorns her coiffed hair. The girl stands erect, posing for a snapshot that crops her at the thighs, but a defiant look flutters on her otherwise stoic face. In the background, large houses commingle with bare, spidery trees. It is autumn in Columbus, Ohio. Under the photograph, a...

...- phers, Buenoano’s image was borrowed from the archive of the Broward Correctional Facility. Yet even if we compare the “objec- tive” mug shots of these two women, a number of differences strike the eye (figure 5). Tucker has long, curly hair; Buenoano has short, unevenly cropped, “slicked-back” hair...

... Camera Obscura. Vol. I, no. I; pp. 76-96. Shapiro, Susan and Esther Ronay, Francine Winham, Asa Sjostrom contribution to Women Working: Rapunzel, Let Down Your Hair. Vol. I, no. 3-4; pp. 231-232. I I 8 Suter, Jacquelyn Feminine Discourse in Christopher Strong. Vol. I, no. 3-4...

... can use to cope with side effects of treatment such as hair loss or nausea. These segments can occur in any order, so that patients can decide whether to see the “good news” or the “bad news” first, or to skip them altogether. 3) Throughout the program, especially...

..., and Visual Culture. No. 36; pp. 1-12 Grayson, Deborah R. 159 Is it Fake? Black Women’s Hair as Spectacle and Spec(tac)ular.No. 36; pp. 13-32 Howell, Amanda Reproducing the Past: Popular History and Family Melodrama on...

... asks: “If I have my hair cut at Sassoon’s, will you love me this relatively harmless proposition becomes perverse and untenable when the same female voice asks: “If I fuck you, will you give me a one-woman show?”The sequence ends with the woman asking: “If I fuck you, will it be worth it In...