Lost Boys of the Upper Great Plains, and: Lost Boys of the Upper Great Plains, and: Lost Boys of the Upper Great Plains

Ecotone ◽  
2015 ◽  
Vol 10 (2) ◽  
pp. 71-73
Author(s):  
Joe Wilkins
Keyword(s):  
Great Plains ◽  
Lost Boys

Treating lost boys: Love is necessary and so is understanding

1997 ◽  
Vol 42 (10) ◽  
pp. 951-951
Author(s):  
Frederick H. Berenstein
Keyword(s):  
Lost Boys

Vampires of Color: A Critique of Multicultural Whiteness

2018 ◽  
Author(s):  
Dale Hudson
Keyword(s):  
United States ◽  
Civil Rights ◽  
White Privilege ◽  
Political Representation ◽  
White Trash ◽  
National Values ◽  
Lost Boys ◽  
Classical Hollywood

This chapter explores whiteness’s purported expansion through multiculturalism after Civil Rights and the Immigration Act of 1965. By yoking the inclusivity of multiculturalism and exclusivity of whiteness, multicultural whiteness sustains white privilege without acknowledging it, granting conditional or provisional inclusion to select nonwhite groups. It becomes a performative category (“white-identified-ness”) questioned in films like Blacula (1972), Ganja and Hess (1973), Martin (1976), Fright Night (1985), The Lost Boys (1987), Near Dark (1987), Interview with the Vampire (1994), and The Addiction (1995). Classical Hollywood whiteness is transformed by greater emphasis on so-called national values—individualism, consumerism, patriotism, secularism, and willful amnesia—that sustain foundational myths of a nation of immigrants, land of opportunity, and beacon of democracy. Within the proliferation of representations of a multicultural United States, films question limitations on political representation for anyone not identifying—or being identified—with whiteness, including so-called white trash.

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