The piece proceeds in
the mode of cultural studies by analysing the racial discourses surrounding the film: black rural folklorism, the representation of stereotypical black comic or menial roles in film, the commodification and packaging of black culture, and what Naremore calls «a chic, upscale «Africanism», redolent of café society, Broadway theatre, and the European avant - garde.»
One
study, drawing on national survey data, indicated that evangelicals tend to be relatively isolated from the main sources
of secular influence (e.g., higher education, professional careers, urban or suburban residence), thus permitting them to retain their plausibility structures more or less intact — although other
modes of cultural accommodation were also evident.15