Oscar Awards Black-Centric Cinema, American-Political Economy and the Black American Experience as Tragedy

The recent 2011 Oscar Awards for excellence in cinema due to it's lack of serious, meaningful and significant recognition of any Black-Centric films and excellence in cinema has again resurrected the question of Hollywood and it's relationship with Black America, The Black American Experience and The Cold War of American Racism.

The situation with Black-Centric Cinema and movies is that of Political-Economy.  Specifically the peculiar nature of the relationship Black America has with the larger American Political-Economy.  Black American life, it's experience is a result of the organic foundation of American Political-Economy.  There has to be a serious and realistic diversification of  Black American economic activity and productivity which in turn will support artistic expressions of the Black American experience that are not Tyler Perry one-dimensional, Spike Lee reaction, John Singleton illustration and all the in between presumptions which despite base origin all ply the Black American Experience as tragedy, tragicomedy, idealistic-determination and romantic-sentimental therapy.

The Oscar Awards cannot be separated from the White-Centrism of the larger American Political-Economy and it's idea of cinematic and movie excellence.  White-Centric artistic ideas are exactly that, expressions of a subject of American Political-Economy and it the Black American Experience defaults in it's determination of it's cinematic and movie excellence to White-Centric ideas then any critique of the result is simply a childish, idealistic and obscure effort.

Mature expressions of perception, recognition of complex relationships which is specifically the forte of cinema and movies are the art of a vigorous and diverse economic productivity.  What we present is the observation that when Black American economic activity realizes objective diversity, that fact as it's own intrinsic logic will compel the necessary recognition of excellence without hoping for it's generosity from a White-Centric artistic logic that is dealing with it's very own indulgences and presumptions.

By Apropos