Reviewed by:

• Represented: The Black Imagemakers Who Reimagined African American Citizenship by Brenna Wynn Greer
• Ashleigh Lawrence-Sanders

In the early 1950s, Coca-Cola contracted Moss Hyles Kendrix, a Black marketing and advertising professional, to create a campaign targeting African Americans. Coca-Cola had almost no market presence in the African American community, where Pepsi dominated the market. The Atlanta-born Kendrix sold himself as an “expert” on African American consumers to gain his biggest coup yet in Coca-Cola (p. 42). He helped change the trajectory of advertising and marketing in the United States with a business strategy that could only get its start in Jim Crow America. African American claims to citizenship were formed through the imagery of the civil rights era, and this business strategy was an essential part of the public and private work of imagemakers in the postwar period.

In Represented: The Black Imagemakers Who Reimagined African American Citizenship, Brenna Wynn Greer examines the non-activist, capitalist, yet essential contributions of Black imagemakers like Kendrix in the civil rights struggle. In linking the work of non-activist imagemakers (those who produced representative images of African Americans) who were invested in both entrepreneurial success and some aspects of civil rights politics, Greer confronts the “discomfort with or outright rejection of [End Page 152] the inherent relationship of capitalism to modern civil rights politics” (p. xii). To Greer, these contributions disrupt what she argues is the hyperfocus within civil rights scholarship on grassroots activists and leaders. In Greer’s book, civil rights work and politics do not belong just to the activists. In expanding the characters within the common-held narratives of the movement, Greer questions where we should place those enterprising Black capitalists who also performed civil rights work and how African American consumer culture informed some of the well-known moments in the classic civil rights movement.

Across five densely packed chapters, Greer focuses on three important imagemakers of this era: Kendrix, photographer Gordon Parks, and publisher John H. Johnson. Her use of traditional archival records is impressive, but where her work really shines is in the visual analysis of the dozens of images peppered throughout the book. Images in most books are asides, but in this book, they form the backbone of the study.

Parks and Johnson are the more familiar characters in this history, but Kendrix, a mostly unsung figure, ties the themes of the book together. Greer tracks all three men’s contributions to government and private industry images that all served one goal: providing representations of African Americans as normal American citizens.

During the New Deal and World War II, imagemaking meant showing African Americans as normal, industrious, and patriotic citizens. Both Kendrix and Parks worked within the federal government to shore up Black support for the New Deal and World War II. Kendrix worked for the National Youth Administration in Georgia in the 1930s and utilized his public forums as civil education, which he deemed a necessary precursor for African American claims to first-class citizenship. Encouraging participation in public national recovery programs reified African American citizenship but also, as Greer qualifies, was a “tacit endorsement of the state, despite its failings” (p. 51).

By the end of the book and the introduction of Ebony, Jet, and Coca-Cola, selling African American citizenship moved, seamlessly, from the public sphere to the private sphere. Emulation of the white middle-class consumer culture of the postwar period partially motivated Kendrix and Johnson. Johnson began Ebony magazine by centering sexualized images of Black women, but as Greer brilliantly demonstrates, these images raised Ebony’s and Jet’s profiles and eventually “contributed to [Emmett] Till’s murder’s becoming a catalyst for black activism” (p. 145). While Kendrix’s work to create Black Coca-Cola advertisements seems on the surface more self-interested than Johnson’s decision to publish Emmett Till’s casket photos, there is a clear link between the two: both were business decisions. As Greer succinctly...

审核人：

• 代表：重新想象非裔美国人国籍的黑人图像制作者，布伦纳·怀恩·格里尔
• 阿什利·劳伦斯·桑德斯（Ashleigh Lawrence-Sanders）

1950年代初期，可口可乐与黑人营销和广告专业人士莫斯·海尔斯·肯德里克斯（Moss Hyles Kendrix）签约，发起了针对非裔美国人的运动。可口可乐在百事可乐主导市场的非裔美国人社区中几乎没有市场份额。出生于亚特兰大的肯德里克斯（Kendrix）作为“专家”出卖自己，成为可口可乐史上最大的一次政变（第42页），这是非裔美国人消费者获得的最大成功。他通过商业策略帮助改变了美国广告和营销的轨迹，而这种策略只能在吉姆·克劳美国公司开始。非裔美国人的公民权主张是通过民权时代的图像形成的，这种商业策略是战后图像制作者公共和私人工作的重要组成部分。

在《代表人物：重新塑造非裔美国公民身份的黑人图像制作者》中，布莱纳·威恩·格雷尔研究了肯德里克斯这样的黑人图像制作者在民权斗争中的非激进主义者，资本家但必不可少的贡献。在联系那些投资于企业家成功和民权政治某些方面的非激进主义影像制作者（制作非裔美国人的代表性影像）的作品时，格里尔面临着“对……的不满或直接拒绝的不满”。资本主义与现代民权政治的内在联系”（第十二页）。对格里尔来说，这些贡献扰乱了她的观点，即她认为民权学者对草根活动家和领导人的高度关注。在格里尔（Greer）的书中，民权工作和政治不仅属于激进主义者。在扩大运动的共同叙述中的人物时，格里尔提出了疑问：我们应该把那些也从事民权工作的，有进取心的黑人资本家放在哪里，以及非裔美国人的消费文化如何使经典民权运动中的一些著名时刻成为现实。 。

在五个密密麻麻的章节中，Greer专注于这个时代的三个重要图像制作者：肯德里克斯（Kendrix），摄影师戈登·帕克斯（Gordon Parks）和出版商约翰·约翰逊（John H. Johnson）。她对传统档案记录的使用令人印象深刻，但她的作品真正令人瞩目的地方在于对整本书中数十幅图像的视觉分析。大多数书籍中的图像都是辅助图像，但在本书中，它们构成了研究的基础。

帕克斯（Parks）和约翰逊（Johnson）是这段历史中最熟悉的人物，但肯德里克斯（Kendrix）则是一位鲜为人知的人物，将这本书的主题联系在一起。格里尔（Greer）追踪了这三个人对政府和私人企业形象的所有贡献，这三个目标都有一个目标：提供非裔美国人作为正常美国公民的代表。

在《新政》和第二次世界大战期间，图像制作意味着向非裔美国人展示正常，勤奋和爱国的公民。肯德里克斯和帕克斯都在联邦政府内部工作，以支持黑人对新政和第二次世界大战的支持。肯德里克斯（Kendrix）于1930年代在佐治亚州的国家青年管理局工作，并利用他的公共论坛作为公民教育，他认为这是非裔美国人声称拥有一流公民身份的必要先兆。鼓励公众参与国家复兴计划不仅可以使非裔美国人获得国籍，而且格里尔（Greer）认为，这是对国家的默许，尽管它失败了（第51页）。

在这本书的结尾以及对Ebony，Jet和可口可乐的介绍之后，推销非裔美国人的国籍无缝地从公共领域转移到了私人领域。战后时期白人中产阶级消费文化的模仿部分推动了肯德里克斯和约翰逊。约翰逊开始乌木杂志由定心黑人女性的色情图片，但格里尔出色展示，这些照片引发乌木的和喷气机的个人资料，并最终“促成[艾米特]蒂尔（Emmett）Till被谋杀成为黑人激进主义的催化剂”（第145页）。尽管肯德里克斯（Kendrix）制作黑可口可乐广告的工作表面上看起来比约翰逊（Johnson）发布埃米特·蒂尔（Emmett Till）棺材照片的决定更加自私，但两者之间却有着明显的联系：两者都是商业决定。正如格里尔简洁地...