Primitive Cousins: Roots and Authenticity in the White South

  • Amy Lynn Corbin
Part of the Screening Spaces book series (SCSP)


Throughout the civil rights drama Mississippi Burning (1988), the two investigating FBI agents are reminded they are outsiders, as if invaders from a foreign country. The local sheriff sums up the cultural-geographic divide when he tells them: “The rest of America don’t mean jackshit—you’re in Mississippi now.” Such comments are aimed as much at the audience as to the outsider characters, for the Mississippi of this film is not a place many 1980s viewers would want to be, nor want to consider part of their America—but did enjoy visiting cinematically. Sheriff Stuckey’s words could as easily apply to the traveling characters in earlier films like Pinky (1949), Black Like Me (1964), In the Heat of the Night (1967), Easy Rider (l969), and Deliverance (1972), who discover the South to be a place in which their own norms of behavior do not apply, with threatening (and, for some, lethal) consequences. However, the film provokes spectatorial pleasure in these clashes of culture, a pleasure that derives from the touristic gaze at “disturbing” difference and the knowledge that one is safely insulated from that difference. Characters like the redneck villains of Mississippi Burning, in whom are concentrated all the sins of the white South, become satisfying to hate through melodramatic conventions of good and evil.


Cultural Landscape Indian Country White Culture Cultural Authenticity Dwelling Point 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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