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• W265881505 abstract "One aspect of hegemonic rule is that all groups outside master-group are invisible in socio-cultural production. There is a constant ideological barrage billboards, television, movies, and in newspapers and literature of Canon as hegemony reflects and reifies itself; only images of dispossessed are given from viewpoint of that group. The white male hegemony controls production, distribution and evaluation of this ideological barrage; and, in fact, there is very little subversive material that slips through cracks into newspapers, onto screen, or into our lives. Ishmael Mumbo Jumbo (1972) and Hollywood film The Mummy (1932), directed by Karl Freund, are two such texts: Mumbo Jumbo is a text of colonized that appropriates and revises myths of colony to deconstruct or signify on white and black literary canons, and The Mummy, starring Boris Karloff, ostensibly a reification of colonial British hegemony, displaces itself, and presents a subverted and subversive message. Ishmael Reed uses myths of Egypt - of Isis, Osiris and Book of Thoth - as an analogy for condition of African American canon in Westem hegemonic world. According to Robert Elliot Fox, Mumbo Jumbo reflects Reed's own attempts to gather up scattered fragments of a tradition in order to restore a culture, for scattering of Osiris's limbs is a clear metaphor for [African] Diaspora (54). The action of novel reifies this search in Mu'tafikah, a multi-cultural group organized to retrieve art from Center of Art Detention located at 82nd St. and 5th Ave. or Metropolitan Museum in New York City.(1) Just as Mu'tafikah are a quest to liberate and restore stolen artifacts from cache of imperial colony, Papa Labas is a quest to find Book of Thoth which has been split in fourteen parts and circulated throughout country, and goddess Isis is a quest to search for and correct the scattered pieces of Osiris's dismembered (Fox 51). In reading and teaching our cultural texts, we must search for and reclaim our cultural myths in texts as well, texts that have a vision of invisible. In Mummy, colonial enterprise uses Egypt as a screen which to project a text of horror, exoticism and hypnotic sexuality. But The Mummy functions as a text within a text: main body of film is framed by a memorable masculine beginning, and much of imagery operates at a subconscious level. The frame of movie is important: that is only way movie could have been slipped past self-censorship in Hollywood, where Oedipal paradigm is literally king: Whenever we cast our eyes up to silver screen, wherever we look - at figures riding tall in saddle, crouched in foxholes, careening down mountain roads in fast cars, or even cowering in kitchen - we see men. One urgent and consistent theme that stretches through Hollywood films from Rudolph Valentino to Al Pacino has been masculinity. In movies, masculinity is presented as an agonizing, unresolved problem. ... The problem that Hollywood addresses is not too different from that which Freud laid out in Civilization and Its Discontents: can man, that is, male gender, find happiness in a world of nine-to-five jobs, Little League, and aluminum siding sales? (Bisking and Ehrenreich 201)(2) Although The Mummy initially appears to reify hegemony in most obvious ways, film accidentally subverts its own meaning, and, instead of presenting a man-save-woman horror scheme, it inadvertently expresses complex and subtle power of female sexuality. Mumbo Jumbo begins like a film: action starts in medias res, like a detective story, before title page. Only after initial reports of spontaneous epidemic, Jes Grew, do we get title, publisher, date, epigraph and dedications. …" @default.
• W265881505 created "2016-06-24" @default.
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• W265881505 date "1991-12-22" @default.
• W265881505 modified "2023-09-24" @default.
• W265881505 title "The Limbs of Osiris: Reed's 'Mumbo Jumbo' and Hollywood's 'The Mummy.' (Ishmael Reed)" @default.
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