Race under Reconstruction in German Cinema: Robert Stemmle&#8217;s Toxi

Scholarly perspectives on the mixed race experience.

The spectrum of shades and colorings that constitute “black” identity in the United States, and the equal claim to black identity that someone who looks like [Walter] White or [Louis T.] Wright (or, for that matter, [Rachel] Dolezal) can have, is a direct product of bloodlines that attest to institutionalized rape during and after slavery. Nearly all of us who identify as African-American in this country, apart from some more recent immigrants, have at least some white ancestry. My own white great-grandparent is as inconsequential as the color of my palms in terms of my status as a black person in the United States. My grandparents had four children: my father and his brother, both almond-brown, with black hair and dark eyes, and two girls with reddish hair, fair skin, freckles, and gray eyes. All of them were equally black because they were equal heirs to the quirks of chance determining whether their ancestry from Europe or Africa was most apparent. Dolezal’s primary offense lies not in the silly proffering of a false biography but in knowing this ugly history and taking advantage of the reasons that she would, at least among black people, be taken at her word regarding her identity.

Jelani Cobb, “Black Like Her,” The New Yorker, June 15, 2015. http://www.newyorker.com/news/daily-comment/rachel-dolezal-black-like-her.

Race under Reconstruction in German Cinema: Robert Stemmle’s Toxi

Race under Reconstruction in German Cinema: Robert Stemmle’s Toxi

University of Toronto Press
June 2011
288 pages
Cloth ISBN: 9781442640085

Angelica Fenner, Associate Professor of German and Cinema Studies
University of Toronto

Race Under Reconstruction in German Cinema investigates postwar racial formations via a pivotal West German film by one of the most popular and prolific directors of the era. The release of Robert Stemmle’s Toxi (1952) coincided with the enrolment in West German schools of the first five hundred Afro-German children fathered by African-American occupation soldiers. The didactic plot traces the ideological conflicts that arise among members of a patrician family when they encounter an Afro-German child seeking adoption, herein broaching issues of integration at a time when the American civil rights movement was gaining momentum and encountering violent resistance.

Perceptions of ‘Blackness’ in Toxi demonstrate continuities with those prevailing in Wilhelmine Germany, but also signal the influence of American social science discourse and tropes originating in icons of American popular culture, such as Uncle Tom’s Cabin, Birth of a Nation, and several Shirley Temple films. By applying a Cultural Studies approach to individual film sequences, publicity photos, and press reviews, Angelica Fenner relates West German discourses around race and integration to emerging economic and political anxieties, class antagonism, and the reinstatement of conventional gender roles.

Tags: Afro-Germans, Angelica Fenner, Germany, Robert A. Stemmle, Robert Stemmle, Toxi, University of Toronto Press

This entry was posted on Friday, March 16th, 2012 at 21:17Z and is filed under Books, Europe, Literary/Artistic Criticism, Media Archive, Monographs. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

Mixed Race Studies

Race under Reconstruction in German Cinema: Robert Stemmle’s Toxi

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