Scarlett L . Hester | Middle Tennessee State University (original) (raw)
Papers by Scarlett L . Hester
Critical Studies in Media Communication
Communication and Critical/Cultural Studies
Critical Studies in Media Communication
Building Bodies: Transnational Historical Approaches to Sport, Gender and Ethnicities, 2019
The Popular Culture Studies Journal, 2018
TABLE OF CONTENTS: Matthew Houdek - Introduction (292-299) *** Alexis McGee and J. David Cisnero... more TABLE OF CONTENTS: Matthew Houdek - Introduction (292-299) *** Alexis McGee and J. David Cisneros - “Looking Back, Looking Forward: A Dialogue on ‘The Imperative of Racial Rhetorical Criticism’” (300-305) *** Michelle Colpean and Rebecca Dingo - “Beyond Drive-by Race Scholarship: The Importance of Engaging Geopolitical Contexts” (306-311) *** Shereen Yousuf and Bernadette Calafell - “The Imperative for Anti-Muslim Racism in Rhetorical Studies” (312-318) *** Karrieann Soto Vega and Karma Chávez - “Latinx Rhetoric and Intersectionality in Racial Rhetorical Criticism” (319-325) *** Martin Law and Lisa M. Corrigan - “On White-Speak and Gatekeeping: Or, What Good are the Greeks?” (326-330) *** Kristiana Baez and Ersula Ore - “The Moral Imperative of Race for Rhetorical Studies: On Civility and Walking-in-White in Academe” (331-336) *** Sara Baugh-Harris and Darrel Wanzer-Serrano - “Against Canon: Engaging the Imperative of Race in Rhetoric” (337-342) *** Scarlett L. Hester and Catherine R. Squires - “Who are we working for? Re-centering Black Feminism” (343-348) *** RESPONSE: Lisa A. Flores - “Towards An Insistent and Transformative Racial Rhetorical Criticism” (349-357). OVERVIEW: The essays in this special forum respond to Lisa A. Flores' 2016 essay, "Between Abundance and Marginalization: The Imperative of Racial Rhetorical Criticism," https://bit.ly/2E2cXGa. The forum includes eight pairs of junior and senior scholars who each collaborated on an essay plus a response piece by Flores. The forum was guest curated by Houdek and invited by journal editors Greg Dickinson and the late Robert DeChaine, and it was originally delivered as a roundtable discussion at the 2018 Rhetoric Society of America Conference in Minneapolis, MN.
Peer-Reviewed Articles by Scarlett L . Hester
Critical Studies in Media Communication, 2019
This essay examines the 2017 horror film IT, exploring how it depicts notions of innocence in rel... more This essay examines the 2017 horror film IT, exploring how it depicts notions of innocence in relationship to race and masculinity. Specifically, the adolescent white male members of the film's core protagonist group, the Losers' Club, are represented as innocent figures because of their decision to practice a supposedly "colorblind" and anti-racist/anti-sexist ideology, and also due to the innocent nature of these characters' fears that are depicted within the film. We contend that although the white male Losers are able to maintain their childlike innocence, the film denies innocence to Mike Hanlon, the only black member of the Losers' Club, by closely associating his black masculinity with modes of violence. Through an analysis of these characters, we note the particular ways in which the presumed innocence of whiteness is reified when it is embodied exclusively by young white males.
Critical Studies in Media Communication
Communication and Critical/Cultural Studies
Critical Studies in Media Communication
Building Bodies: Transnational Historical Approaches to Sport, Gender and Ethnicities, 2019
The Popular Culture Studies Journal, 2018
TABLE OF CONTENTS: Matthew Houdek - Introduction (292-299) *** Alexis McGee and J. David Cisnero... more TABLE OF CONTENTS: Matthew Houdek - Introduction (292-299) *** Alexis McGee and J. David Cisneros - “Looking Back, Looking Forward: A Dialogue on ‘The Imperative of Racial Rhetorical Criticism’” (300-305) *** Michelle Colpean and Rebecca Dingo - “Beyond Drive-by Race Scholarship: The Importance of Engaging Geopolitical Contexts” (306-311) *** Shereen Yousuf and Bernadette Calafell - “The Imperative for Anti-Muslim Racism in Rhetorical Studies” (312-318) *** Karrieann Soto Vega and Karma Chávez - “Latinx Rhetoric and Intersectionality in Racial Rhetorical Criticism” (319-325) *** Martin Law and Lisa M. Corrigan - “On White-Speak and Gatekeeping: Or, What Good are the Greeks?” (326-330) *** Kristiana Baez and Ersula Ore - “The Moral Imperative of Race for Rhetorical Studies: On Civility and Walking-in-White in Academe” (331-336) *** Sara Baugh-Harris and Darrel Wanzer-Serrano - “Against Canon: Engaging the Imperative of Race in Rhetoric” (337-342) *** Scarlett L. Hester and Catherine R. Squires - “Who are we working for? Re-centering Black Feminism” (343-348) *** RESPONSE: Lisa A. Flores - “Towards An Insistent and Transformative Racial Rhetorical Criticism” (349-357). OVERVIEW: The essays in this special forum respond to Lisa A. Flores' 2016 essay, "Between Abundance and Marginalization: The Imperative of Racial Rhetorical Criticism," https://bit.ly/2E2cXGa. The forum includes eight pairs of junior and senior scholars who each collaborated on an essay plus a response piece by Flores. The forum was guest curated by Houdek and invited by journal editors Greg Dickinson and the late Robert DeChaine, and it was originally delivered as a roundtable discussion at the 2018 Rhetoric Society of America Conference in Minneapolis, MN.
Critical Studies in Media Communication, 2019
This essay examines the 2017 horror film IT, exploring how it depicts notions of innocence in rel... more This essay examines the 2017 horror film IT, exploring how it depicts notions of innocence in relationship to race and masculinity. Specifically, the adolescent white male members of the film's core protagonist group, the Losers' Club, are represented as innocent figures because of their decision to practice a supposedly "colorblind" and anti-racist/anti-sexist ideology, and also due to the innocent nature of these characters' fears that are depicted within the film. We contend that although the white male Losers are able to maintain their childlike innocence, the film denies innocence to Mike Hanlon, the only black member of the Losers' Club, by closely associating his black masculinity with modes of violence. Through an analysis of these characters, we note the particular ways in which the presumed innocence of whiteness is reified when it is embodied exclusively by young white males.