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Whiteness in the black imagination
Gender roles in Night of the Living Dead
Whiteness in the black imagination
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The second film we watched during the semester, as well as the one of the last films we watched, were George A. Romeo’s 1968 Night of the Living Dead as well as Jordan Peele’s 2017 Get Out. I have chosen to combine both of these films into the same section because I believe they express similar themes, in the monstercity of male privilege as well as the monstericity of whiteness. For example, in Night of the Living Dead, Romero goes out of his way to show the “roughness” of the male psyche by showing the three men try to take charge in the cabin. The scene where Harry, Tom, and Ben are all arguing trying to figure out which plan the group should take to survive expresses this. The entire scene is just a huge pissing contest between Ben (who …show more content…
Romeo expresses toxic whiteness in his portrayal of the redneck posse at the end of the film. Night of the Living Dead was released in 1968, on the tail end of the Civil Rights movement and Sheriff Mccullen's posse is a direct reflection of the angry white mobs that were originating in Alabama at the time. They are shown as a group of people who have a shoot first ask questions later attitude, and will shoot and do shoot anything different from them. Mccullen even instructs his men to shoot anything that moves. This is why they shoot Ben when he comes out of the house. These “white” men do not care who they kill or shoot, if it does not look like a white man, then they will kill it. Jordan Peele expresses a similar theme in “Get Out” by making the entire plot about white people trying to overtake black’s bodies to use them as a way to everlasting life. The notion that white people just because the color of their skin believe that they are superior to those who are different than them, but acknowledge that they have different cultures than them and that is worthy enough to experience. That is the very definition of white toxicity, thinking that you are better than someone else because of the color of your skin but yet grant them worthy enough that you are jealous because you cannot experience their
Throughout the semester, we have watched three films all in which there has been some sort of resistance to power. Cool Hand Luke, directed by Stuart Rosenberg in 1967, was a movie in which the main character, Luke, played by Paul Newman, has been forced to conform to a life in prison. Afterschool, directed by Antonio Campus, is about a boy named Robert, played by Ezra Miller, who is a sophomore in a prep school who happened to catch two girls overdosing on video. The Matrix, directed by Andy Wachowski in 1999, is about a guy named Neo, played by Keanu Reeves, who is a computer programmer by day and a hacker by night. Although these three movies have completely different plots, they all somewhat relate in a way that the main character in each movie struggles with the resistance of power.
I did my paper on the movie Pleasantville. This is about a brother and sister who get trapped inside the 50’s television show, Pleasantville. The movie starts off in color until they get to Pleasantville where their world suddenly turns to black and white. Pleasantville is a perfect society where husbands come home to a beautiful wife and children and a home cooked meal ready on the table, and everything and everyone works together to make the community a perfectly functioning society. When the siblings, David and Jennifer, become part of Pleasantville’s perfect society they immediately have a strong influence that changes it substantially. As the people of Pleasantville start breaking their community’s norms, color starts to appear
Even though George Romero, director of the film, Night of the Living Dead, did not intentionally intend to create racial controversy, the film broke a lot of ground considering the year it was filmed in 1968. By making a black character, Ben, the most intelligent and resourceful of all the white characters, as well as the protagonist, Romero, shattered racist stereotypes in the horror movie genre as well as mainstream film. This was mainly due to the fact that Night of The Living Dead was one of the first films to follow a black protagonist who was filmed in a positive light. Ben’s personality was possibly the most subversive aspect of the whole film. Ben was a brave and quick-witted character who was able to see what needed to get done in order to ensure survival from the zombies. The fact that Ben was portrayed as the most composed character, especially out of the cast of distraught white characters only emphasized his position as the most important character. Without Ben, the other characters would have most likely died. Overall, despite the fact that Night of the Living Dead did not intend to make a racial statement, I believe it ended up symbolizing the progress African Americans made during the civil rights movement, yet certain points in the film such as the power dynamic between Ben and Harry, the zombies attacking Ben, Ben’s death scene, and the photographs at
Through the film “In the Heat of the Night” racial tensions are high, but one character, the Chief of Police, Gillespie overcomes racial discrimination to solve a murder. The attitudes that he portrays in the film help us understand the challenges in changing attitudes of Southern white town towards the African Americans living there.
Being one of the few black students to attend Tisch School of the Arts, the aspiring filmmaker’s first year at New York University was a particularly difficult one. Lee’s experiences, race, and upbringing have all led him to create controversial films to provide audiences with an insight into racial issues. Spike Lee’s first student production, The Answer, was a short ten minute film which told of a young black screenwriter who rewrote D.W. Griffith’s The Birth of a Nation. The film was not well accepted among the faculty at New York University, stating Lee had not yet mastered “film grammar.” Lee went on to believe the faculty took offense to his criticisms towards the respected director’s stereotypical portrayals of black characters (1).
He never acted like either a nigger or a white man. That was it. That was what made the folks so mad. For him to be a murderer and all dressed up and walking the town like he dared them to touch him, when he ought to have been skulking and hiding in the woods, muddy and dirty and running.
The film observes and analyzes the origins and consequences of more than one-hundred years of bigotry upon the ex-slaved society in the U.S. Even though so many years have passed since the end of slavery, emancipation, reconstruction and the civil rights movement, some of the choice terms prejudiced still engraved in the U.S society. When I see such images on the movie screen, it is still hard, even f...
Since minorities have gained a more significant role in movies, it begs the question: what happens to them after they become the “magical negro” in the horror genre? Does the min...
As a society there are a lot of qualities that men have been socialized to uphold when it comes to how they act or react, what they support, and what they suppress. This movie produces a harsh critique of male socialization early on and continues
Later one, two young African Americans males leaving a diner walking passed a white couple and the woman clutches the man’s arm and move closer. So, Some of the diversity dimensions that I found were related more to characteristics such as age, gender, race, religion, education, income, language within the movie and portrayed the social class discrimination, as well as gender discrimination. Throughout the film, there were some racial lines of tension between all races and against each other such as White on Persian, White on Black, Black on Black, White on Hispanic, Hispanic on Asian, Asian on Black, and White on Asian, Persian on Hispanic.
Foster, Gwendolyn Audrey. Class-passing : social mobility in film and popular culture (Carbondale : Southern Illinois University Press, 2005).
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
As muscle-bound figures such as the Terminator and Rambo stormed big screen, it was also during this period that we witnessed the ostensive arrival of “racially sensitive” buddy cop films. Lethal Weapon 4 (1998) directed by Richard Donner is a buddy cop film, which portrays a more subtle ‘modern’ type of racism. In saying so, the film examines inter-racial relationships attempting to diminish racial issues and present characters with equity in order to give comfort and reassurance to a wider ethnic audience. With calls for more minority representation on screen, black-white interracial buddying seemed to make political and financial sense to Hollywood studios (Chan 110). However, minority representation on screen presented a much more complex underlying notion to be represented on screen. In relevance to Lethal Weapon 4, this essay attempts to examine relevant points from Shoham and______ article .
One of the biggest issues depicted in the film is the struggle of minority groups and their experience concerning racial prejudice and stereotyping in America. Examples of racism and prejudice are present from the very beginning of the movie when Officer Ryan pulls over black couple, Cameron and Christine for no apparent reason other than the color of their skin. Officer Ryan forces the couple to get out of the car
...wn comes under siege as racism rages within the community. The Klu Klux Klan is also featured in the film, a group that symbolizes hate. The eerie looking hoods in the film are a reminder of America’s dark past, and of current racist groups still present in society. Many of the characters in the film are stuck in old values and teachings, misplacing their hate towards the coloured. The film “Mississippi Burning” supports the hypothesis as it deals with society still living in the past and acting narrow-mindedly towards its fellow human beings.