Ever wonder how books are shelved?
In this library we use The Library of Congress Classification System to organize books on the shelves. The LC SYSTEM organizes material in libraries according to twenty-one branches of knowledge called classes. The system uses letters to represent the twenty-one broad branches of knowledge. The letters I, O, W, X AND Y are not used.
The twenty-one classes are:
A – GENERAL WORKS
B – PHILOSOPHY, PSYCHOLOGY, RELIGION
C – AUXILIARY SCIENCES OF HISTORY
D – HISTORY: GENERAL & OUTSIDE THE AMERICAS
E – HISTORY: UNITED STATES
F – HISTORY: UNITED STATES LOCAL & AMERICAS
G – GEOGRAPHY, ANTHROPOLOGY, RECREATION
H – SOCIAL SCIENCE
J – POLITICAL SCIENCE
K – LAW
L – EDUCATION
M – MUSIC & BOOKS ON MUSIC
N – FINE ARTS
P – LANGUAGE & LITERATURE
Q – SCIENCE
R – MEDICINE
S – AGRICULTURE
T – TECHNOLOGY
U – MILITARY SCIENCE
V – NAVAL SCIENCE
Z – BIBLIOGRAPHY, LIBRARY SCIENCE & INFORMATION RESOURCES
These twenty-one broad subject areas are further divided into more specific subject areas by adding one or two additional letters as well as some numbers. For a more detailed breakdown of any subject, go to the Library of Congress web page.
So, How Do I Find a Book on the Shelf?
Try this exercise, which was put together by the librarians at Kent State University, to see if you have figured out the Library of Congress system!
Finding Books on Your Topic 
Once you have chosen a topic and done your background research you will be ready to conduct more comprehensive research using books.
Use the Library Catalog to find books available in the Cerritos College Library. Books can provide a broad overview of a topic or in-depth information. You can search for books by author, title, subject, or keyword.
EXAMPLE:
Listed below are some examples of Library of Congress Subject Headings used in the catalog for searching books relating to African American History and Culture. Remember, this list is by no means conclusive.
African American Women and Sexuality in the Cinema by
The representation of African American women is an important issue in the overall study of how women are portrayed in film, and has received serious attention in recent years. Traditionally, "women of color," particularly African American women, have been at the margins of studies of women's on-screen depictions--or excluded altogether. This work focuses exclusively on the sexual objectification of African American women in film from the 1980s to the early 2000s. Critics of the negative sexual imagery have long speculated that control by African American filmmakers would change how African American women are depicted. This work examines sixteen films made by males both white and black to see how the imagery might change with the race of the filmmaker. Four dimensions are given special attention: the diversity of the women's roles and relationships with men, the sexual attitudes of the African American female characters, their attitudes towards men, and their nonverbal and verbal sexual behaviors. This work also examines the role culture has played in perpetuating the images, how film influences viewers' perception of African American women and their sexuality, and how the imagery polarizes women by functioning as a regulator of their sexual behaviors based on cultural definitions of the feminine.
Am I Black Enough for You?: popular culture from the 'Hood and beyond by
Explores race and class in mainstream representation of African American popular culture. This book looks at the way in which the nuances of ghetto life get translated into the politics of popular culture. It follows the evolution of gangster culture in twentieth century American popular culture and the shift from ethnicity to race.
The Black Image in the White Mind: media and race in America by
Living in a segregated society, white Americans learn about African Americans not through personal relationships but through the images the media show them. The Black Image in the White Mind offers the most comprehensive look at the intricate racial patterns in the mass media and how they shape the ambivalent attitudes of Whites toward Blacks.
Using the media, and especially television, as barometers of race relations, Robert Entman and Andrew Rojecki explore but then go beyond the treatment of African Americans on network and local news to incisively uncover the messages sent about race by the entertainment industry-from prime-time dramas and sitcoms to commercials and Hollywood movies. While the authors find very little in the media that intentionally promotes racism, they find even less that advances racial harmony. They reveal instead a subtle pattern of images that, while making room for Blacks, implies a racial hierarchy with Whites on top and promotes a sense of difference and conflict. Commercials, for example, feature plenty of Black characters. But unlike Whites, they rarely speak to or touch one another. In prime time, the few Blacks who escape sitcom buffoonery rarely enjoy informal, friendly contact with White colleagues--perhaps reinforcing social distance in real life.
Blaxploitation Films by
In the early 1970s, a type of film emerged that featured all-black casts, really cool soul, R'n'B and disco soundtracks, characters sporting big guns, big dashikis and even bigger 'fros and some of the meanest, baddest attitudes ever to shoot their way across the big screen. Blaxploitation Films considers this genre from the perspective of class and racial rebellion with over 60 blaxploitation movies reviewed and discussed. Fully up to date, it includes Baadasss and The Hebrew Hammer and discusses the deaths of Isaac Hayes and Rudy Rae Moore.
Darkening Mirrors : imperial representation in Depression-era African American performance by
In Darkening Mirrors , Stephanie Leigh Batiste examines how African Americans participated in U.S. cultural imperialism in Depression-era stage and screen performances. A population treated as second-class citizens at home imagined themselves as empowered, modern U.S. citizens and transnational actors in plays, operas, ballets, and films. Many of these productions, such as the 1938 hits Haiti and The "Swing" Mikado recruited large casts of unknown performers, involving the black community not only as spectators but also as participants. Performances of exoticism, orientalism, and primitivism are inevitably linked to issues of embodiment, including how bodies signify blackness as a cultural, racial, and global category. Whether enacting U.S. imperialism in westerns, dramas, dances, songs, jokes, or comedy sketches, African Americans maintained a national identity that registered a diasporic empowerment and resistance on the global stage. Boldly addressing the contradictions in these performances, Batiste challenges the simplistic notion that the oppressed cannot identify with oppressive modes of power and enact themselves as empowered subjects. Darkening Mirrors adds nuance and depth to the history of African American subject formation and stage and screen performance.
Darwin's Athletes : how sport has damaged Black America and preserved the myth of race by
Darwin's Athletes zeroes in on our society's fixation on black athletic achievement. John Hoberman compellingly argues that this obsession - one shared by both blacks and whites in the media, in corporate America, and even by athletes themselves - has come to play a disastrous role in African American life and a troubling role in our country's race relations. This sports fixation originates in the painful century-long exclusion of blacks from every other path to high achievement. The scarcity of other kinds of race heroes has conferred messianic status on the most popular black athletes, which has fostered a delusion of integration while contributing to deep social divisions. Rich, flamboyant superstars lend credence to age-old prejudices, recycled scientific theories denigrating black intelligence, and stereotypes of black violence. This athleticizing of black identity encourages a disdain for academic achievement already too widespread among black males.
Double Negative: the black image and popular culture by
From the antics of Flavor Flav on Flavor of Love to the brazen behavior of the women on Love & Hip Hop , so-called negative images of African Americans are a recurrent mainstay of contemporary American media representations. In Double Negative Racquel J. Gates examines the generative potential of such images, showing how some of the most disreputable representations of black people in popular media can strategically pose questions about blackness, black culture, and American society in ways that more respectable ones cannot. Rather than falling back on claims that negative portrayals hinder black progress, Gates demonstrates how reality shows such as Basketball Wives , comedians like Katt Williams, and movies like Coming to America play on "negative" images to take up questions of assimilation and upward mobility, provide a respite from the demands of respectability, and explore subversive ideas. By using negativity as a framework to illustrate these texts' social and political work as they reverberate across black culture, Gates opens up new lines of inquiry for black cultural studies.
Enter the New Negroes : images of race in American culture by
An illuminating perspective on the period and the decades immediately following the Harlem Renaissance explores the neglected role played by visual images of race in the debate on the nature of African-American identity, community, and history.
Images That Injure : pictorial stereotypes in the media by
This expanded collection of new and fully revised explorations of media content identifies the ways we all have been negatively stereotyped and demonstrates how careful analysis of media portrayals can create more beneficial alternatives.
* 33 distinguished authors as well as new voices in the field combine their extensive and varied expertise to explain the social effects of media stereotyping.
* Includes historical and contemporary illustrations that range from editorial cartoons to the sinking of the Titanic
* Richly illustrated with historical and up-to-date photographic illustrations
* Every chapter's content is meticulously supported with numerous sources cited
* A glossary defines key words mentioned in the chapters
Lockstep and Dance: images of black men in popular culture by
Lockstep and Dance: Images of Black Men in Popular Culture examines popular culture's reliance on long-standing stereotypes of black men as animalistic, hypersexual, dangerous criminals, whose bodies, dress, actions, attitudes, and language both repel and attract white audiences. Author Linda G. Tucker studies this trope in the images of well-known African American men in four cultural venues: contemporary literature, black-focused films, sports commentary, and rap music.
Through rigorous analysis, the book argues that American popular culture's representations of black men preserve racial hierarchies that imprison blacks both intellectually and physically. Of equal importance are the ways in which black men battle against, respond to, and become implicated in the production and circulation of these images.
Tucker cites examples ranging from Michael Jordan's underwear commercials and the popular Barbershop movies, to the career of rapper Tupac Shakur and John Edgar Wideman's memoir Brothers and Keepers . Lockstep and Dance tracks the continuity between historical images of African American men, the peculiar constitution of whites' anxieties about black men, and black men's tolerance of and resistance to the reproduction of such images. The legacy of these stereotypes is still apparent in contemporary advertising, film, music, and professional basketball. Lockstep and Dance argues persuasively that these cultural images reinforce the idea of black men as prisoners of American justice and of their own minds but also shows how black men struggle against this imprisonment.
Race and Ideology : language, symbolism, and popular culture by
Race and Ideology reveals how various strands of racial thinking and behavior are crucial for maintaining the unequal distribution of wealth that is more pronounced in the U.S. than in any other advanced industrial country. Though primarily concerned with the U.S., this collection contains chapters on other societies in order to highlight commonalties and the global nature of the race/color problem.
This book proposes a new understanding of racism by examining a variety of issues that show how racism and colorism, along with other forms of oppression, are interconnected and maintained by language, symbolism, and popular culture. It includes such topics as how blackness is the symbolic bottom of the U.S. social structure; how the teaching of language and culture can be a tool for understanding inequality; and how the media contribute to the dissemination of stereotypes of people of color.
Race and Ideology offers provocative ideas that must be confronted if we are to construct an understanding of racism that can be useful for social change.
Reflections on Blaxploitation by
n the early 1970s, a new breed of film emerged that would completely change the way black people were presented in movies. With their afros picked to spherical perfection and their guns blazing, big bad soul brothers and super sexy sisters lit up movie theaters across the country. Never before had black men and women appeared on screen in quite this way. In time, these films would be called "blaxploitation." And while it has long been debated exactly which film launched the blaxploitation era, the financial success of Melvin Van Peebles's Sweet Sweetback's Baadasssss Song and Gordon Parks's Shaft helped open the flood gates for the more than 200 films that are now considered blaxploitation.
Style and Status : selling beauty to African American by
Between the 1920s and the 1970s, American economic culture began to emphasize the value of consumption over production. At the same time, the rise of new mass media such as radio and television facilitated the advertising and sales of consumer goods on an unprecedented scale. In Style and Status: Selling Beauty to African American Women, 1920--1975, Susannah Walker analyzes an often-overlooked facet of twentieth-century consumer society as she explores the political, social, and racial implications of the business devoted to producing and marketing beauty products for African American women. Walker examines African American beauty culture as a significant component of twentieth-century consumerism, and she links both subjects to the complex racial politics of the era. The efforts of black entrepreneurs to participate in the American economy and to achieve self-determination of black beauty standards often caused conflict within the African American community. Additionally, a prevalence of white-owned firms in the African American beauty industry sparked widespread resentment, even among advocates of full integration in other areas of the American economy and culture. Concerned African Americans argued that whites had too much influence over black beauty culture and were invading the market, complicating matters of physical appearance with questions of race and power. Based on a wide variety of documentary and archival evidence, Walker concludes that African American beauty standards were shaped within black society as much as they were formed in reaction to, let alone imposed by, the majority culture. Style and Status challenges the notion that the civil rights and black power movements of the 1950s through the 1970s represents the first period in which African Americans wielded considerable influence over standards of appearance and beauty.
Women of Blaxploitation by
With the Civil Rights movement of the sixties fresh in their perspective, movie producers of the early 1970s began to make films aimed toward the underserved African American audience. Over the next five years or so, a number of cheaply made, so-called blaxploitation movies featured African American actresses in roles which broke traditional molds. Typically long on flash and violence but lacking in character depth and development, this genre nonetheless did a great deal toward redefining the perception of African American actresses, breaking traditional African American female stereotypes and laying the groundwork for later feminine action heroines. This critical study examines the ways in which the blaxploitation heroines of the early 1970s reshaped the presentation of African American actresses on screen and, to a certain degree, the perception of African American females in general. It discusses the social, political and cultural context in which blaxploitation films emerged. The work focuses on four African American actresses--Pam Grier, Tamara Dobson, Teresa Graves and Jeanne Belle--providing critical and audience response to their films as well as insight into the perspectives of the actresses themselves. The eventual demise of the blaxploitation genre due to formulaic plots and lack of character development is also discussed. Finally, the work addresses the mainstreaming of the action heroine in general and a recent resurgence of interest in black action movies. Relevant film stills and a selected filmography including cast list and plot synopsis are also included. Instructors considering this book for use in a course may request an examination copy here .
