In general, these amount to assessments of in what ways I found the book helpful somehow. Emblematic of this: the Western i. A fetishizing of the desire to let the spirit shine through a la photographic portraiturealthough oil painters had been interested in it in Northern Europe for a time already.
The most trenchant observation is that it may not be clear if white people realize they are white.
An excellent companion to bell hooks's Snow White is, apparently originally a Bavarian i. There is a lot of talk, for instance, at the outset about how one represents on film at all. But reproduction is something the living do, not the dead—once again, we see that the vampire is not actually dead.
As a small piece of background, this is an early critical white studies book that arises principally out of a film studies discipline. Dyer begins by situating white imagery in the context of Christianity, "race" and colonialism and explores the significance of using the term "white.
Judy GarlandPaul Robesonand Marilyn Monroe are the subjects of this text, and yet they are not what Dyer is most interested in. Woman as angel sets up a host of countervailing gestures, of course. I may say stupid stuff, poorly informed stuff. Dyer traces the representation of whiteness by whites in Western visual culture, focusing on the mass media of photography, advertising, fine art, cinema and television.