1) Reinterpreting Psychoanalysis: Frantz Fanon's book Black Skin, White Masks discusses Freud's theory of the "ontogenetic" (individual-based) origin of neuroses, offers a "sociogen[tic]" or socially-based source for neuroses instead. In what way is racism a sociogenic phenomenon in Fanon's writings? How then might Fanon's theory of racism, the social origin of neuroses, and his autobiographical description of racial interpellation be relevant to Tony's situation in the film Pressure by Horace Ové? Considering Freud's essay on "The Uncanny". Do you see the uncanny at work in the writings of Fanon and Claudia Rankine's The White Card and in the film Pressure?

The Role of Art and Representation: Consider the way art is discussed in The White Card. Consider as well the importance of representation to Stuart Hall's theory of identity. How do The White Card and Stuart Hall's theories focus their attention on issues of art, representation, and racism?

Cultural Becoming: Stuart Hall describes cultural identity as always in a state of becoming in relation to representation. One is never entirely finished "becoming" oneself. Consider Tony's process of "becoming" himself in Pressure. How do Hall's cultural identity and representation theory apply to the film Pressure? Do Ové and Selvon's film and Rankine's play provide a "form of representation which is able to constitute us as new kinds of subjects, and thereby enable us to discover who we are" ("Cultural Identity")?

Triple Consciousness: Fanon's describes his experience of existence as not "in the third person, but as a triple person". What might it mean to have a triple consciousness? Does everyone have one, regardless of race? Apply this question to a single character from The White Card or Pressure—how does one character from either text exist triply?

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