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Twentieth Anniversary Edition

Richard Dyer

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Twentieth Anniversary Edition

Richard Dyer

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About This Book

Nowtwenty years since its initial release, Richard Dyer's classic text White remains a groundbreaking and insightful study of the representation of whiteness in Western visual culture.

White explores how, while racial representation is central to the organisation of the contemporary world, white people have remained a largely unexamined category in sharp contrast to the many studies of images of black and Asian peoples. Looking beyond the apparent unremarkability of whiteness, Dyer demonstrates the importance of analysing images of white people.

Dyer places this representation within the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he shows the construction of whiteness in the technology of photography and film as part of a wider 'culture of light'; discusses heroic white masculinity in muscle-man action cinema, from Tarzan and Hercules to Conan and Rambo; analyses the stifling role of white women in end-of-empire fictions like Jewel in the Crown and traces the associations of whiteness with death in Falling Down, horror movies and cult dystopian films such as Blade Runner and the Aliens trilogy.

This twentieth anniversary edition includes a new introductory chapter by Maxime Cervulle entitled 'Looking into the light: Whiteness, racism and regimes of representation'. This new introduction illuminates how Dyer has made a major contribution to the study of contemporary regimes of representation by unveiling the cultural mechanisms that have formed and reinforced white hegemony, mechanisms under which white people have come to represent what is ordinary, neutral, even universal.

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The matter of whiteness

Racial1 imagery is central to the organisation of the modern world. At what cost regions and countries export their goods, whose voices are listened to at international gatherings, who bombs and who is bombed, who gets what jobs, housing, access to health care and education, what cultural activities are subsidised and sold, in what terms they are validated – these are all largely inextricable from racial imagery. The myriad minute decisions that constitute the practices of the world are at every point informed by judgements about people’s capacities and worth, judgements based on what they look like, where they come from, how they speak, even what they eat, that is, racial judgements. Race is not the only factor governing these things and people of goodwill everywhere struggle to overcome the prejudices and barriers of race, but it is never not a factor, never not in play. And since race in itself – insofar as it is anything in itself – refers to some intrinsically insignificant geographical/physical differences between people, it is the imagery of race that is in play.
There has been an enormous amount of analysis of racial imagery in the past decades, ranging from studies of images of, say, blacks or American Indians in the media to the deconstruction of the fetish of the racial Other in the texts of colonialism and post-colonialism. Yet until recently a notable absence from such work has been the study of images of white people. Indeed, to say that one is interested in race has come to mean that one is interested in any racial imagery other than that of white people. Yet race is not only attributable to people who are not white, nor is imagery of non-white people the only racial imagery.
This book is about the racial imagery of white people – not the images of other races in white cultural production, but the latter’s imagery of white people themselves. This is not done merely to fill a gap in the analytic literature, but because there is something at stake in looking at, or continuing to ignore, white racial imagery. As long as race is something only applied to non-white peoples, as long as white people are not racially seen and named, they/we function as a human norm. Other people are raced, we are just people.
There is no more powerful position than that of being ‘just’ human. The claim to power is the claim to speak for the commonality of humanity. Raced people can’t do that – they can only speak for their race.2 But non-raced people can, for they do not represent the interests of a race. The point of seeing the racing of whites is to dislodge them/us from the position of power, with all the inequities, oppression, privileges and sufferings in its train, dislodging them/us by undercutting the authority with which they/ we speak and act in and on the world.
The sense of whites as non-raced is most evident in the absence of reference to whiteness in the habitual speech and writing of white people in the West. We (whites) will speak of, say, the blackness or Chineseness of friends, neighbours, colleagues, customers or clients, and it may be in the most genuinely friendly and accepting manner, but we don’t mention the whiteness of the white people we know. An old-style white comedian will often start a joke: ‘There’s this bloke walking down the street and he meets this black geezer’, never thinking to race the bloke as well as the geezer. Synopses in listings of films on TV, where wordage is tight, none the less squander words with things like: ‘Comedy in which a cop and his black sidekick investigate a robbery’, ‘Skinhead Johnny and his Asian lover Omar set up a laundrette’, ‘Feature film from a promising Native American director’ and so on. Since all white people in the West do this all the time, it would be invidious to quote actual examples, and so I shall confine myself to one from my own writing. In an article on lesbian and gay stereotypes (Dyer 1993b), I discuss the fact that there can be variations on a type such as the queen or dyke. In the illustrations which accompany this point, I compare a ‘fashion queen’ from the film Irene with a ‘black queen’ from Car Wash - the former, white image is not raced, whereas all the variation of the latter is reduced to his race. Moreover, this is the only non-white image referred to in the article, which does not however point out that all the other images discussed are white. In this, as in the other white examples in this paragraph, the fashion queen is, racially speaking, taken as being just human.
This assumption that white people are just people, which is not far off saying that whites are people whereas other colours are something else, is endemic to white culture. Some of the sharpest criticism of it has been aimed at those who would think themselves the least racist or white supremacist, bell hooks, for instance, has noted how amazed and angry white liberals become when attention is drawn to their whiteness, when they are seen by non-white people as white.
Often their rage erupts because they believe that all ways of looking that highlight difference subvert the liberal belief in a universal subjectivity (we are all just people) that they think will make racism disappear. They have a deep emotional investment in the myth of ‘sameness’, even as their actions reflect the primacy of whiteness as a sign informing who they are and how they think.
(hooks 1992: 167)
Similarly, Hazel Carby discusses the use of black texts in white class-rooms, under the sign of multiculturalism, in a way that winds up focusing ‘on the complexity of response in the (white) reader/student’s construction of self in relation to a (black) perceived “other”’. We should, she argues, recognise that ‘everyone in this social order has been constructed in our political imagination as a racialised subject’ and thus that we should consider whiteness as well as blackness, in order ‘to make visible what is rendered invisible when viewed as the normative state of existence: the (white) point in space from which we tend to identify difference’ (Carby 1992: 193).
The invisibility of whiteness as a racial position in white (which is to say dominant) discourse is of a piece with its ubiquity. When I said above that this book wasn’t merely seeking to fill a gap in the analysis of racial imagery, I reproduced the idea that there is no discussion of white people. In fact for most of the time white people speak about nothing but white people, it’s just that we couch it in terms of ‘people’ in general. Research – into books, museums, the press, advertising, films, television, software – repeatedly shows that in Western representation whites are overwhelmingly and disproportionately predominant, have the central and elaborated roles, and above all are placed as the norm, the ordinary, the standard.3 Whites are everywhere in representation. Yet precisely because of this and their placing as norm they seem not to be represented to themselves as whites but as people who are variously gendered, classed, sexualised and abled. At the level of racial representation, in other words, whites are not of a certain race, they’re just the human race.
We are often told that we are living now in a world of multiple identities, of hybridity, of decentrednéss and fragmentation. The old illusory unified identities of class, gender, race, sexuality are breaking up; someone may be black and gay and middle class and female; we may be bi-, poly- or non-sexual, of mixed race, indeterminate gender and heaven knows what class. Yet we have not yet reached a situation in which white people and white cultural agendas are no longer in the ascendant. The media, politics, education are still in the hands of white people, still speak for whites while claiming – and sometimes sincerely aiming – to speak for humanity. Against the flowering of a myriad postmodern voices, we must also see the countervailing tendency towards a homogenisation of world culture, in the continued dominance of US news dissemination, popular TV programmes and Hollywood movies. Postmodern multiculturalism may have genuinely opened up a space for the voices of the other, challenging the authority of the white West (cf. Owens 1983), but it may also simultaneously function as a side-show for white people who look on with delight at all the differences that surround them.4 We may be on our way to genuine hybridity, multiplicity without (white) hegemony, and it may be where we want to get to – but we aren’t there yet, and we won’t get there until we see whiteness, see its power, its particularity and limitedness, put it in its place and end its rule. This is why studying whiteness matters.
It is studying whiteness qua whiteness. Attention is sometimes paid to ‘white ethnicity’ (e.g. Alba 1990), but this always means an identity based on cultural origins such as British, Italian or Polish, or Catholic or Jewish, or Polish-American, Irish-American, Catholic-American and so on. These however are variations on white ethnicity (though, as I suggest below, some are more securely white than others), and the examination of them tends to lead away from a consideration of whiteness itself. John Ibson (1981), in a discussion of research on white US ethnicity, concludes that being, say, Polish, Catholic or Irish may not be as important to white Americans as some might wish. But being white is.
The rest of this chapter provides a series of contexts for looking at whiteness and for the chapters that follow. I begin with a consideration of my own relation to whiteness, my sense of myself as white. It has become common for those marginalised by culture to acknowledge the situation from which they speak,5 but those who occupy positions of cultural hegemony blithely carry on as if what they say is neutral and unsituated – human not raced. As I shall argue later, there is something especially white in this non-located and disembodied position of knowledge, and thus it seems especially important to try to break the hold of whiteness by locating and embodying it in a particular experience of being white.
The section after this may be considered as notes on the politics of studying whiteness. I suggest both why it is something that needs to be done – the project of ‘making whiteness strange’ – and the risks involved. I consider the question of language, especially of what term to use in a study of whiteness to refer to people excluded from and oppressed by the category ‘white’. This is followed by a discussion of some methodological issues. The chapter ends with a longer section, presenting a general perspective on whiteness, organised around a concept of embodiment, traced through Christianity, notions of race and enterprise and imperialism.

As a white man

In an article considering the whiteness of sexual politics, and referring to an earlier article of mine, Helen (charles) observes: T have often wondered whether white people know they are white. I know that Richard Dyer does’ (1993: 99; see also (charles) 1992).
Her remark set me thinking. Why was I trying to write about whiteness? I embarked on it because I thought it needed doing and, when I started, thought nobody else was doing it. Yet this does not of itself explain what (Charles) identifies as the prerequisite for doing it, the awareness of being white. Given that, in the West, being white is not an issue for most white people, not a conscious or reflected on part of their sense of who they are, how come it was for me?
I won’t pretend to come up with a total explanation of this, since it must be caught up in individual particularities so particular as to be of little general interest. However, if I try to trace the personal/cultural coalescence which goes some way towards accounting for my sense of myself as white, I can sum it up as follows. I seem from a very early age to have had a feeling for non-white people, a feeling something like kinship; yet there were moments when, for some reason or other, I suddenly realised that I really was not kin, and it was thus that I really realised I was white.
My mother recently told me a story about myself that she had never retailed before. I was brought up in a suburb of London, in a period (the late 1940s and early 1950s) in which there were relatively few non-white people in Britain. I went to a nursery school. One day a black boy came to class and was teased unmercifully by the other children. I, however, took his side, told the teachers that I would be his friend and took him home to tea. Since I don’t myself remember this incident, I cannot claim to know what feelings I had at the time, but I cannot help speculating. I remember being very happy at nursery school, but I knew that I was regarded as a funny little boy, chiefly because I preferred playing with dolls and flowers to guns and cars. Perhaps I felt an affinity between myself and another boy who was funny because, albeit for a different reason, he too was not like the other boys.
This is to read back into an incident I don’t recall something that I only consciously formulated in late adolescence. The key figure here was a Jewish boy at school, whom I’ll call Danny Marker. I used to visit him and his family in Golders Green, a Jewish neighbourhood of London. I knew by then that I was a homosexual and I envied Danny and his family – they too were an oppressed minority, whom, like queers, you could not always spot; but, unlike us, they had this wonderful, warm community and culture and the wrongfulness of their oppression was socially recognised. I now believe that there are intellectual and political problems with making an analogy between Jews and queers, between ethnic and sexual discriminations, but I am trying to say how it felt then. I envied Danny’s ethnicity and wanted to be part of it, indeed felt at home with it – except that there were always those moments, when I was offered some specially bought ham, for instance, or when Danny couldn’t come out because it was the Sabbath, moments that made me realise that I was not a Jew, was not in fact at home.
I think at that stage I would have said that it was merely because I was a queer, not because I was a gentile or white. That came later, but I need to say something more here about the sexual dimension. I had a crush on Danny. My feeling for non-white people has sometimes taken an erotic form. There is a discourse of white bawdy, not much different in its straight or gay versions, that posits an elemental attraction of some white people to non-white people, the ‘you’re only interested in blacks because you like big cocks’ kind of thing. The sexualisation of my feeling for some non-white men has undoubtedly lent intensity and poignancy to my awareness of race, but I do believe that it is an eroticisation of a much wider feeling, expressed not least in friendships with non-white women and men as well as in many aspects of my cultural life. It is the felt connection between gays and ethnic minorities that is important here, as much as romantic and sexual encounters with non-white men.
The fact that Danny did not reciprocate my crush on him perhaps defended me from imagining I could be more integrated into his world than I was; my feeling remained envy. It was later that, through involvement in a mixed-race gay political group and a relationship with an African-American man, that I experienced most strongly both the desire to be at one with non-white people and the recognition that I would never be exactly that, because I was white. The moment that crystallised it had to do with dancing. Living in New York at the time (1980), I went out dancing a lot with black friends to black venues; I had a black music radio station on all the time; I could not have been more into it. At one mixed-race social event, we all started dancing in a formation copied from the TV series Soul Train, two lines facing each other, which we took it in turns to dance down between. For all my love of dancing and funk, I have never felt more white than when I danced down between those lines. I know it was stereotypes in my head; I know plenty of black people who can’t dance; I know perceptions of looseness and tightness of the body are dubious. All I can say is that at that moment, the black guys all looked loose and I felt tight. The notion of whiteness having to do with tightness, with self-control, self-consciousness, mind over body, is something I explore below. I felt it, and hated it, dancing between the lines – and hated it not for itself, but because it brought home to me that, in my very limbs, I had not the kinship with black people that I wanted to have.
This then perhaps says something about why I was sensitised to myself as white. It does not however say how I feel about it. If anything, it says too much, implies that I hate and resent it. But this is not the case and never has been. For one thing, I have also always known which side my bread is buttered on. I know I won’t be stopped for long at immigration controls; I know I’ll be respectfully served in shops, banks and restaurants; I know that, with class and gender also on my side, it is not really surprising that I now have a good job and a nice house and I certainly don’t scorn to have such things. And, while my love of Jewish, black and also Indian cultural forms remains as strong as ever, my cultural tastes certainly happily embrace very white things too, not least some things discussed in this book: the incandescent white faces of the movies, glisteningly muscular white male bodies, the touchingly awkward white melancholia of The Jewel in the Crown.
Nor am I immune to white racism. It comes unbidden, when I am off guard. Most commonly it’s when I am driving, when, that is, I am both most tense (driving is dangerous to the point of insanity) and most distracted (the mind wanders and the music plays). If someone suddenly pulls out or blinks their lights for me to get out of the way when I myself am already driving at or over the speed limit, then at such moments self-righteous scorn and despair at the human race well up, uncensored. If I catch sight of the driver, then up pops a correlation between race, and gender, and bad driving. I’m shocked by it each time, by the fact that the correlation is so very readily to hand, but it doesn’t stop it from coming along the next time.
Two things need to be said about this. The first is that I make a correlation whatever the race and gender of the person. Indeed, my contempt for bad white male drivers is far stronger than for any other category of person, partly because I am less likely instantly to correct it in my mind. I am not ashamed to think white masculinity a menace. Equally, I suspect that if I could tell the person’s sexuality, I’d make something of that, including blaming bad driving on the feather-brained silliness of gay men. Second, I don’t believe that such thoughts are a ‘real me’ lurking behind a facade of anti-racism. I did not invent racist thought, it is part of the cultural non-consciousness that we all inhabit.6 One must...

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Citation styles for White
APA 6 Citation
Dyer, R. (2017). White (2nd ed.). Taylor and Francis. Retrieved from https://www.perlego.com/book/1520725/white-twentieth-anniversary-edition-pdf (Original work published 2017)
Chicago Citation
Dyer, Richard. (2017) 2017. White. 2nd ed. Taylor and Francis. https://www.perlego.com/book/1520725/white-twentieth-anniversary-edition-pdf.
Harvard Citation
Dyer, R. (2017) White. 2nd edn. Taylor and Francis. Available at: https://www.perlego.com/book/1520725/white-twentieth-anniversary-edition-pdf (Accessed: 14 October 2022).
MLA 7 Citation
Dyer, Richard. White. 2nd ed. Taylor and Francis, 2017. Web. 14 Oct. 2022.