Analysis of Crash Movie
The white supremacy movie
The Oscar-winning best picture -- extensively prefigured, especially by white liberals, for proceeding an honest discussion of race in the United States -- is, in fact, a holdup in the crucial project of forcing white America to come to terms the reality of race and racism, white supremacy and white privilege.
The central theme of the film is simple: Everyone is prejudiced -- black, white, Asian, Iranian and, we are responsible, anyone from any other racial or ethnic group. We all carry around racial/ethnic baggage that’s filled with unfair stereotypes, long-stewing grievances, raw anger, and crazy fears. Even when we think we have made progress, we find ourselves caught in frustratingly complex racial webs from which we can’t seem to get untangled.
For most people -- including the two of us -- that’s painfully true; such untangling is a life’s work in which we can make progress but never feel finished. But that can obscure a more fundamental and important point: This state of affairs is the product of the actions of us white people. In the modern world, white elites invented race and racism to protect their power, and white people in general have accepted the privileges they get from the system and helped maintain it. The problem doesn’t spring from the individual prejudices that exist in various ways in all groups but from white supremacy, which is expressed not only by individuals but in systemic and institutional ways. There’s little hint of such understanding in the film, which makes it especially dangerous in a white-dominant society in which white people are eager to avoid confronting our privilege.
So, “Crash” is white supremacist because it minimizes the reality of white supremacy. Its faux humanism and simplistic message of tolerance directs attention away from a white-supremacist system and undermines white accountability for the maintenance of that system. We have no way of knowing whether this is the conscious
The Oscar-winning best picture -- extensively prefigured, especially by white liberals, for proceeding an honest discussion of race in the United States -- is, in fact, a holdup in the crucial project of forcing white America to come to terms the reality of race and racism, white supremacy and white privilege.
The central theme of the film is simple: Everyone is prejudiced -- black, white, Asian, Iranian and, we are responsible, anyone from any other racial or ethnic group. We all carry around racial/ethnic baggage that’s filled with unfair stereotypes, long-stewing grievances, raw anger, and crazy fears. Even when we think we have made progress, we find ourselves caught in frustratingly complex racial webs from which we can’t seem to get untangled.
For most people -- including the two of us -- that’s painfully true; such untangling is a life’s work in which we can make progress but never feel finished. But that can obscure a more fundamental and important point: This state of affairs is the product of the actions of us white people. In the modern world, white elites invented race and racism to protect their power, and white people in general have accepted the privileges they get from the system and helped maintain it. The problem doesn’t spring from the individual prejudices that exist in various ways in all groups but from white supremacy, which is expressed not only by individuals but in systemic and institutional ways. There’s little hint of such understanding in the film, which makes it especially dangerous in a white-dominant society in which white people are eager to avoid confronting our privilege.
So, “Crash” is white supremacist because it minimizes the reality of white supremacy. Its faux humanism and simplistic message of tolerance directs attention away from a white-supremacist system and undermines white accountability for the maintenance of that system. We have no way of knowing whether this is the conscious