A Quote by Rostam Batmanglij

I don't identify as white. I have a complex relationship with whiteness. — © Rostam Batmanglij
I don't identify as white. I have a complex relationship with whiteness.
I think the idea that you're somehow rejecting whiteness if you don't identify yourself as biracial is odd because everybody engages in whiteness. If you live in America, you're doing whiteness all the time, even if you have no white people in your family.
Well, I think that I have a complicated relationship with whiteness because oftentimes, I pass as white, and I recognize that. I would be disingenuous to pretend that I don't pass as white.
I believe that also it should be stressed and made clear that our antagonistic position is not to say "I don't like whites" for the simple fact of not liking white people. It's like, our fight is not against the white person per se, but against the exercises of white supremacy and the form in which whiteness and the politics of whiteness operates.
Whiteness is not a culture . . . Whiteness has nothing to do with culture and everything to do with social position . . . . Without the privileges attached to it, the white race would not exist, and the white skin would have no more social significance than big feet
The privileged position of whiteness doesn't allow for someone with one drop of Negro blood to be considered white, which allows whiteness to be a fairly pure category while blackness has to absorb an expansive reality of representation.
A white girl disappears from a white prep school in a white suburb. Nobody knows what happened to her. The overall whiteness of the world is threatened. This must be resolved by whatever means possible.
I dissolved, so white, so unapproachable, amid my white flame, in the whiteness of moonlight
For radical white writers wishing to forge interracial movements of poor and working people, whiteness has also long been a problem, with Alexander Saxton and Ted Allen making especially full efforts to understand whiteness in order to disillusion whites unable to see past the value of their own skins.
When I go to the movies, I'm expected to identify with all of the characters, and most of them are white. But when you put a black character in there, somehow the white audience isn't expected to identify with them. That's a problem.
Instead of accepting what James Baldwin called the "lie of whiteness," many people in lots of different fields and movement activities have tried to productively make it into a problem. When did (some) people come to define themselves as white? In what conditions? How does the lie of whiteness get reproduced? What are its costs politically, morally and culturally?
If white people on a larger scale really de-emphasized their whiteness, I think that would have to transform the Republican party into a more responsible party that couldn't get by on just playing into white resentment, especially white middle and working class resentment while taking care of the interests of plutocrats.
Those who politically theorise the artificial concept of 'whiteness' infer that anyone who has white skin cannot escape their unconscious bias. If you object, you are accused of failing to come to terms with your white privilege.
Since I got to this country when I was 12, I've been obsessed with this idea of whiteness and blackness because I realized I was neither. For me, it was so important to me to make a film that focused on whiteness because you wouldn't have blackness if you didn't have whiteness.
In some ways Jews and the various largely Catholic and often poor European immigrant groups were "white," as the historian Tom Guglielmo has recently put it, "on arrival." Where naturalization law was concerned, for example, ample precedents recognized their ability to become citizens, a right explicitly resting on their "whiteness." But they also remained, as Working toward Whiteness puts it, "on trial" for a harrowingly long time.
We live surrounded by white images, and white in this world is synonymous with the good, light, beauty, success, so that, despite ourselves sometimes, we run after that whiteness and deny our darkness, which has been made into the symbol of all that is evil and inferior.
'The Cosby Show' was a show about black people that was fundamentally and unequivocally friendly to whiteness and to white people. The Huxtables had white friends.
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