Killing the documentarian: Richard Wright and documentary modernity

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dc.altmetrics.displaytrueen
dc.contributor.authorBalthaser, Benjamin
dc.date.accessioned2015-05-19T20:22:54Z
dc.date.available2015-05-19T20:22:54Z
dc.date.issued2012
dc.description.abstractScenes from Richard Wright's Native Son (1940) could be read as pointed satire of the documentary aesthetic, and easily be taken as Wright's final statement on the 1930s radical documentary. Balthaser argues that 12 Million Black Voices (1941) -- Richard Wright's documentary photo-montage of the Great Migration -- is "not merely the nonfiction companion to Native Son as it was advertised, but rather the culmination of Wright's own contradictory and dialectical concerns with the politics of black representation."en
dc.identifier.citationBalthaser, Benjamin. “Killing the Documentarian: Richard Wright and Documentary Modernity.” Criticism, vol. 55, no. 3, 2013, doi:DOI: 10.13110/criticism.55.3.0357.en
dc.identifier.urihttps://hdl.handle.net/2022/19967
dc.publisherCriticismen
dc.relation.isversionofhttp://digitalcommons.wayne.edu/criticism/vol55/iss3/1/en
dc.subjectAmerican literature--African American authors--History and criticism.en
dc.subjectAmerican literature--20th century--History and criticism.en
dc.subjectWright, Richard, 1908-1960.en
dc.subjectDocumentary photographyen
dc.subjectDocumentary mass media and the artsen
dc.titleKilling the documentarian: Richard Wright and documentary modernityen
dc.typeArticleen

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