- Home
- Social Science
- Media Studies
- Peter Nicks' “Oakland Trilogy” (Framing Institutions in Times of Black Lives Matter)
Peter Nicks' “Oakland Trilogy” (Framing Institutions in Times of Black Lives Matter)
- Availability: Confirm prior to ordering
- Branding: minimum 50 pieces (add’l costs below)
- Check Freight Rates (branded products only)
Branding Options (v), Availability & Lead Times
- 1-Color Imprint: $2.00 ea.
- Promo-Page Insert: $2.50 ea. (full-color printed, single-sided page)
- Belly-Band Wrap: $2.50 ea. (full-color printed)
- Set-Up Charge: $45 per decoration
- Availability: Product availability changes daily, so please confirm your quantity is available prior to placing an order.
- Branded Products: allow 10 business days from proof approval for production. Branding options may be limited or unavailable based on product design or cover artwork.
- Unbranded Products: allow 3-5 business days for shipping. All Unbranded items receive FREE ground shipping in the US. Inquire for international shipping.
- RETURNS/CANCELLATIONS: All orders, branded or unbranded, are NON-CANCELLABLE and NON-RETURNABLE once a purchase order has been received.
Product Details
Overview
In his documentary trilogy, Peter Nicks explores the structurality of political and social issues by placing cameras inside and outside three government institutions in the City of Oakland, California: The Waiting Room (2012) depicts 24 hours of work and life at the Highland Hospital. The Force (2017) investigates the Oakland Police Department over two years, and Homeroom (2021) accompanies a graduating class at Oakland High.
This essay considers Nicks’ films as audiovisual participants in the #blacklivesmatter discourse, which discusses racism, classism, and sexism as structural issues. As such, these issues are only visible through symptoms of an invisible structure that allows them to pertain and to be (re)produced. This essay asks how film, as an audiovisual medium, relates to the in/visibility of structural issues.
Analyzing Nicks’ trilogy chronologically, the essay demonstrates how these films explore a particular mode of audiovisual experience. They enable a reflection upon structural racism not through an attempted visualization of invisible structures but through affects of Unbehagen, allowing for an audiovisual experience that reflects upon issues of framing the in/visible.
