By C. Richard King, Charles Fruehling Springwood
Asses the ritualization and illustration of racial distinction linked to intercollegiate athletics.
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Extra resources for Beyond the Cheers: Race As Spectacle in College Sport (S U N Y Series on Sport, Culture, and Social Relations)
Not surprisingly, it gives precedence to the dominant elements in each of these categories—the revenue sports of football and men’s basketball, men’s sports, and Division I athletics. Within these subdivisions, it literally revolves around the exploits of champions. It weaves together singular events and exceptional individuals to elaborate the meaning of college sports. In images and videos, it enshrines individuals who excelled as coaches and players and teams that for one shining moment or throughout their careers achieved greatness; it celebrates great men (and women), great teams, and great games.
He works not against racial and class stratification but to realize his potential. Race is not mentioned in Kirkland’s life history. Rather, the problems often associated with urban life paint an image of a personal failure, of promise and opportunity lost in the streets where they began. The focus here, as in Hardaway’s account, is on the individual, not on social relations and historical conditions. In both ads, the individual eviscerates the significance of race. It is not race that makes a difference but character, industry, and talent.
In neither case is race invoked or explored either by the film or its subjects. Individualism and the American Dream expunge race from the promotional speaking tour associated with the film. During the spring 1996 semester, William Gates gave a presentation at Luther College in Decorah, Iowa, as part of a speaking tour sponsored by the film company promoting Hoop Dreams. He spoke to an auditorium filled with Luther College students and a few faculty, a largely white, Christian, Midwestern audience.