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I suppose in every discipline, the threat of artistic integrity being tainted by money is inescapable. I’ve been thinking about this alongside something Claudia Rankine, Beth Loffreda, and Max King Cap write about in the introduction to The Racial Imaginary anthology, about how the imagination is not free, and there is no version of it that exists in a vacuum, untouched by the hierarchical structures of society.
by Hawa Allan
For Piper, race was always a conscious affiliation, not an essentialist identity. […] Throughout all of this, Piper seems to have organically arrived at an understanding of race that aligns with its actual definition—a social construct rather than a biological fact.
by J.T. Price
Lillian Ross does not reveal how the adaptation of The Red Badge of Courage will pan out until practically the very end, at which point, the plot reasserts itself and what had seemed a sideshow attraction rears into view as the true climax of Picture.
