This article makes three specific and interrelated arguments. First, it argues that the power of Stuart Hall's pedagogy can be understood as having established a “third space” between political activism and academic research, a space that in the 1970s and early 1980s permitted the development of British cultural studies as an anti-elitist, theoretically informed approach to the field of culture, in particular popular culture. Second, I propose that as this space also opened itself up, starting in the late 1980s, to emerging young black and Asian British artists, and as it extended itself so as to engage with the work of key postcolonial theorists, a body of films and artworks appeared that expanded this space, maintaining the integrity of a practice that refuted the distinctions between high and low culture, in terms of aesthetics, and rhetorical address, and audiences. Third, I argue that the advent of neo liberal political culture in the United Kingdom cuts short the conditions of emergence, which had supported this group of artists, with all that this augurs for future generations of black and Asian artists today.

中文翻译：

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斯图尔特·霍尔：黑人文化生产的艺术与政治

本文提出了三个具体且相互关联的论点。首先，它认为斯图尔特霍尔的教学法的力量可以被理解为在政治激进主义和学术研究之间建立了一个“第三空间”，这个空间在 1970 年代和 1980 年代初期允许英国文化研究作为反精英主义的发展。 ，从理论上了解文化领域的方法，特别是流行文化。其次，我提议，由于这个空间也从 1980 年代后期开始向新兴的年轻黑人和亚裔英国艺术家开放，并且随着它的扩展以与关键的后殖民理论家的工作接触，一系列电影和艺术品的出现扩大了这个空间，在美学方面保持了一种驳斥高低文化差异的实践的完整性，和修辞演讲，和观众。第三，我认为英国新自由主义政治文化的出现缩短了支持这群艺术家的出现条件，而这一切对今天的黑人和亚洲艺术家的后代来说都是预示。