Performing blackness, forming whiteness: Linguistic minstrelsy in Hollywood film1

The ideological and indexical aspects of linguistic representation have been extensively examined in contemporary sociolinguistics both through investigations of language crossing in everyday interaction and through analyses of mediatized linguistic performances. Less well understood are the indexical meanings achieved when language crossing itself becomes the focus of linguistic representation. One prominent instance of this phenomenon is the use of African American English by European American actors in Hollywood films as part of what is argued to be a complex language‐based form of blackface minstrelsy. As mock language, linguistic minstrelsy in such films involves sociolinguistic processes of deauthentication, maximizing of intertextual gaps, and indexical regimentation of the performed language, but unlike earlier forms of minstrelsy these performances are typically problematized within the films as transgressions of the ideology of racial essentialism. In the two films analyzed in detail in the article, linguistic minstrelsy is shown both to reproduce and to undermine the symbolic dominance of hegemonic white masculinity.