August 17, 2010
"Winter's Bone" and the Limits of White Privilege (Part I)
Written by Lisa R. Pruitt
Progressive law professors talk a lot about privilege, including white privilege. If we're white (like I am), we try to be aware of it and not re-create it. Law professors of color remind us that we benefit from it.
Writing about rural people in relation to the law, which I have been doing for a few years now, has put me in an awkward position in relation to white privilege. A lot of my work is about rural disadvantage and class, and I've been told my work is "very white." The presumption about whiteness in my work is probably because rural places are popularly associated with stasis and homogeneity—and with white people in particular. But I’ve written a lot about the sort of entrenched, inter-generational poverty that defines what the U.S. government labels persistent poverty, and the reality is that most persistent poverty counties are dominated by a cluster of a single racial/ethnic group: Latina/o (Rio Grande Valley), African American (the Mississippi Delta and Black belt), American Indian (the Great Plains and Southwest) and, yes, white (Appalachia, the Ozarks plateau, the Texas panhandle). A few of my articles have discussed racial and ethnic minorities in rural and/or persistent poverty contexts; examples are here, here and here.
I have also written about impoverished rural white communities, and I do admit to being concerned about them, too. Which brings me to Ree Dolly, 17-year-old heroine of “Winter's Bone,” the critically acclaimed indie film that won the Grand Jury Prize for Drama at Sundance this year. The film is set in the Missouri Ozarks, about 50 miles from where I grew up in the Arkansas Ozarks, so when it began to garner media attention in the run up to its national release, I found myself holding my breath. Who and what would it show—and how authentic would the depiction be? Was “Winter’s Bone” going to be the 21st century “Deliverance”? In fact, “Winter’s Bone” is pretty ugly, a very difficult film to watch. It is also, I must admit, quite authentic in its depiction of a certain milieu.
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