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Impacts of drugs in the community
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Blaxploitation The Blaxploitation films were needed to reshape the past images of slavery. Blacks were exiting the Black Panther and Black Power movement, which the people had become profound to the use of drugs within urban communities. Therefore, the films were produced counter to the rise of drugs. So, the films were used as a framework to create new stereotypes of blacks being big bad drug dealers or pimps. The films were publicized in the media, which produced a greater outcome of people wanted to become the illustration within the films. The films in Blaxploitation often deal with finding solutions of trying to remove cocaine out of the hood, as there was an uproar within the communities. However, films that were produced declared African Americans being the villain, while the women were often degraded to being a sexual object. Blaxploitation films engraved a foundation of black men wanting to become pimps or drug dealers with flashy jewelry and nice cars. Therefore, black women were confined to being the prostitute or the other woman, which shaped their existence of being belittled. Then, there are films that deal with black women being the bad foxy brown woman, whereas, the women took action and demanded their respect. Still, the films displayed the criminal stereotype for blacks. On the other hand, the Blaxploitation …show more content…
Kelly’s Trapped in the Closet. Trapped in the Closet is a Rap Opera that consist of 33 chapters. The production was written and produced by R. Kelly, as the series is about a one-night stand that would set off a chain of events, namely, sex and deceit. The first Rap Opera was produced in 1992, Graffiti Blue, the musical addressed serious issues surrounding the youth as the kids hang out and support each other. There have been a few Rap Operas produced, A Prince Among Thieves, Deltron 3030 and now,
In the article “Twoness in the style of Oscar Micheaux” by J. Ronald Green critiques the common theme of twoness which was a common debilitating dilemma for black film in America concerning American Social Codes. African Americans face the possibility of two identities at the same time but somehow resolve individually for her or himself. The point is made that African Americans are American citizens, but are hindered by the color line which sets them up to be positioned to understand two sides to the American hegemony. Hegemony consists of leadership or domination, either by one country or social group over others. American black cinema acquiesced in segregation, placed white cupidity off limits as theme, rehashed white Hollywood stereotypes
As showed in the film, Latino American often misrepresented and underrepresented both in front of and under the camera. American Hispanic often portrayed as lazy, unintelligent, greasy and criminal. Hispanic women often pictured comfortable sexuality as prostitution in film production; while Hispanic actors limit to criminal characters such as drug dealers, gangster, and provide the power for the white American. Audiences have less interaction with Latino in their real world might be easily framed by media images regarding the race and ethnicity. The lack of Hispanic history and culture understanding allows these media portrayals to change and form unfavorable behavior and attitude against Latino communities.
Racist characteristics in films and stories are something that can be perceived in this generation, but was something that was normal and expected in the 1930’s. Sexuality and raciness were items that made films a commodity in the 30’s and King Kong uses both of these to attract a wide audience. These qualities are also a factor as to why King Kong remains a classic throughout the generations.
Blaxploitation was a revolutionary movement that brought civil rights progression in America to the silver screen. Developed around the early to mid-1970s, Blaxploitation was a genre that sought to break the boundaries of the stereotypical portrayal of African- Americans at the time, which were generally loyal slaves, unintelligent ruffians, and criminals. Instead, these films included black protagonists, supporting characters, and other things characteristic of a contemporary black society such as Rhythm-and-Blues soundtracks.
The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith introduced “mulatto, faithful mammy, Uncle Tom, and brutal buck” character; some were disguised as villains and obnoxious individuals. Donald Bogle’s “Toms, Coons, Mulattoes, Mammies, & Bucks” describes the brutal black buck as “big, bad niggers, sexed and savage, violent and frenzied as they lust for white flesh” (13-14). Some of the film’s most objectionable scenes depict black men trying to rape white women and Negros destroying the south however, the Ku Klux Klan is riding to the rescue. Bogle also recorded some scenes in the film that presented blacks as a joke. For instance, Bogle reaffirms that “freed Negro legislators are depicted as lustful, arrogant, and idiotic: one bites on a chicken leg, another sneaks a drink from a liquor bottle, and another removes his shows during legislative meetings” (12).
A League of Their Own (Marshall, 1992) explicitly characterizes an American era when a woman’s place was in the home. Even our modern perspective implicitly follows suit. Although women have gained rights and freedoms since the 1930’s, sexism remains prevalent in America. This film offers an illustration when men went to war and big business men utilized women as temporary replacements in factories, sports, and so on. Here, course concepts, such as gender socialization, gender expressions, role stereotypes, emotion expressions, and language, correspond to the film’s characters and themes.
The films from the early 1910’s and 1920’s had a lot of African American characters were actually played by white actors. Hearts and Flats (1911) and Birth of a Nation (1915). These are just some of many films in that era that portrayed Black characters as submissive, dim, criminal, dangerous, and buffoonish or animalistic. Duke University Website (2007)
For many years, African Americans have faced the challenge of being accurately and positively portrayed within mainstream media, such as American made films. They are often represented as people who are inferior to those of the Caucasian race, and are frequently presented with problems that are related to racial discrimination. The portrayal of African Americans in media such as movies has often been considered a large contributing factor to the racial tensions that still exist in our world today (Lemons, 1977). The movie, To Kill a Mockingbird, sheds light on the portrayal of African Americans in movies, and how stereotypes can greatly impact the lives of those who are not of the Caucasian race.
Although blacks have won Academy Awards for acting, screenwriting, and music production they still find trouble in getting quality roles within the film industry. (Common Black Stereotypes) Long before television and films were being produced, there were plays and different forms of entertainment where blacks were stereotyped. They were often played by white people in a demoralizing fashion. Over time blacks became seen as the same and that was bad people.
... model for how the entertainment and media industries depict black people must change. Despite the progress that blacks have worked toward since the days of slavery, society continues to give in to the monetary benefits of producing self-disparaging entertainment and media. It is not only up to the directors, editors, producers and writers to establish this change, but it should also be the demand of the people, or the consumer. If the images of black people in the media are improved the outlook within the community will improve as well. Not only will positive goals and achievements become more realistic for black people if the media outlets discontinue their practice of equating blacks with aggression, lawlessness and violence, but a greater good will also result for whites, which would be represented by a true autonomy and equality in American society.
"Fed Up (Soechtig, 2014)." narrated by Katie Couric, focuses on the growing link between sugar consumption and the obesity epidemic. The film aggressively attacks the food industry, advertising, and the government who, it claims, all contribute to the U.S. sugar-dependent, obesity problem. The film sets out to prove the government, and food industry is knowingly causing an increase in the amount of obese children. It reserves its most critical comments for government advisory panels who make and enforce food and health policy, and its failure to properly regulate the food industry. They claim lobbyists for the sugar board have been instrumental in the removal of negative statistics from research papers worldwide. Instead
Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were the only way for African-Americans to express the deep pain that the white population placed in front of them. Singing, dancing and acting took many African-Americans to a place that no oppressor could reach; considering the exploitation of their character during the 1930's-1960's acting' was an essential technique to African American survival.
Hollywood’s diversity problem is well-known; however, the extent might be surprising to most Americans. According to a 2014 report by the Center for the Study of Women in Television, Film & New Media, found that females comprised only 30% of all speaking characters among the top grossing films of 2013. (Lauzen, 2014) However, minority women faired far worse than their Caucasian counterparts. As a matter of fact, if one looks at the numbers even female characters from other world’s were as better represented in film than some minority women; the numbers are as follow for women: Caucasian (73%), African American (14%), Latina (5%), Asian and other world tied (3%). (Lauzen, 2014) If the lack of representation were not enough consider a 2009 study which found that when minority groups are portrayed on television the portrayal tends to be negative. (Alexandrin, 2009) A study by Busselle and Crandall (2009) found that the manner in which African-Americans are portrayed, often as unemployed criminals, tends to have an influence on the way the public perceives African-American’s lack of economic success. Furthermore, the news media does an equally poor job in the ways that African-American’s are presented; according to the same study while 27% of Americans were considered “poor” in 1996 the images of America’s “poor” being presented by news media was heavily Black (63%). (Busselle & Crandall, 2002) Today, this can be seen in the way that African-American victims of police brutality are depicted in the media. Even when African-Americans are murdered at the hands of police for minor and non-violent offenses (e.g. Mike Brown, Eric Gardner, and Tamir Rice) they are often portrayed as thugs, criminals, and vandals. What’s more, seve...
In the early 1970's, The Blaxploitation Horror Film captivated viewers nationwide. These films, charged with the social and political issues of their time, were created primarily to appeal to black moviegoers yet drew widely diverse audiences. The premise of these films seems simple enough: retell a classic horror movie monster story, but infuse it with black characters in a modern setting. African-American filmmaker William Crain's Blacula, released in 1972, is arguably one of the most successful Blaxploitation Horror Films of the decade, even spawning a sequel the following year. William Levi's Blackenstein was released shortly after Blacula in 1973, in an attempt to capitalize on the new found lucrative film movement of Blaxploitation Horror. Unfortunately, Blackenstein is largely regarded as a failure, both commercially and artistically.1 In my own viewings of both films, I found that, because Blacula was a better
During this time film studios began making cheap genre pictures that featured African Americans or that targeted specific groups like Asians or Latinos. These films are known as blaxploitation films. Most of them failed to address any real political issues. These were exploitation films.