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The representation of african american culture in media
The representation of african american culture in media
The representation of african american culture in media
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FOX’s 2015 show, Empire, portrays a black family as they climb from poverty into the upper class, thus breaking the stereotype of the either very poor black family or the black family that achieves the american dream and creates a new genre in which a black family exists in both social stratas. The show, being presented in a nonlinear fashion, allows for the creators to jump back and forth between a poverty stricken and an upper class lifestyle, therefore reaching all subsets of viewers. Previously in the media, African Americans have been portrayed as either criminals, entertainers, or (in more contemporary cases) middle to upper class families; Empire breaks through this representation of the black community by mixing these three worlds and …show more content…
Ostensibly, the medias res narration format of the show gave the creators an opportunity to switch back and forth between pre-wealth and post-wealth, therefore allowing people in lower classes to relate to the characters, people in upper classes to relate to the characters as well, and people in the middle classes to aspire to be the wealthy version of said characters. As Bustch states, “sitcom producer Lee Rich said ‘A television series, to be truly successful, has got to have people you can identify with, or dream about being’” (512). Rich’s theory proves that Empire, being a series portraying a black family when they were poor and rich, allows audiences to identify with one way they lived and dream about the other. Overall, Empire’s creators used racial profiling in the media to their advantage by playing on all facets of the African American social class stereotype to appeal to a larger …show more content…
Looking back through the years, evidence shows that “blacks were largely absent or were relegated to two roles [within the media]: entertainer or servant” (Croteau and Hoynes 193). While the Lyon’s are not servants, they clearly are entertainers, and good ones at that. Empire’s pilot episode suggests that Luscious achieves his success through his musical talent. Later on in the episode, the audience learns that Luscious’ raps are not the only thing that brought the family into their wealth. Currently in media, “middle class blacks have become mainstream in prime time entertainment programs [...yet...] new coverage and documentaries about blacks [also] tend to focus on poor African Americans in the so-called underclass, mired in drug, crime, and violence” (Croteau and Hoynes 204). Therefore, Empire breaks out of traditional African American representations because the show portrays the Lyon family as having wealth, living in poverty, entertaining, and engaging in illegal activity, thus allowing the characters to be more diversity and have personal
One of the most critical observations about the state of our sociological health is observed by MacGillis of the Atlantic’s article entitled “The Original Underclass”. That is that the social breakdown of low-income whites began to reflect trends that African American’s were primary subjects of decades ago such as unemployment, and drug addiction.
Media such as movies, video games and television, in general, are all created to support some form of social context. This helps with generating popularity because people are able to relate to the form of media. In Greg Smith’s book What Media Classes Really Want to Discuss, he describes 6 different representational strategies that justifies people’s way of thinking. The trope that I will be amplifying is the white savior tactic. In addition, I will connect this strategy to the movie The Blind Side. There are clear examples throughout the film where racism and low-income cultures exist in which the white family is there to help. The Tuohy family from the movie “The Blind Side” serves as the white savior for the progression of Michael
In his documentary Classified X, Martin Van Peebles describes three areas where African-Americans could be receive some sanctuary from the racism that pervaded almost all Hollywood films. These three places were: the Hollywood version of an all-Black film, the church, and entertainment. Black culture and music is prominent in mainstream society, but the people behind this culture don’t always receive recognition and respect for their creations. Mainstream White pop culture excitedly consumes and appropriates Black culture, but disrespects the source.
Certainly, being born into a privileged family have their advantages. Unfortunately, for those who are born into poverty may struggle for their success, but it is not impossible. The podcast “Three Miles” is a great example of that. Comparatively, on the surface Melanie and Raquel are two individuals coming from the same unfortunate circumstances. Although, both girls were introduced to the same pen pal program their outcomes would travel different courses. Initially, the purpose of this program is to give students from poor neighborhoods a glimpse inside their wealthier counterpart’s lives, from another school. Raquel and Melanie’s backgrounds were similar, because they were afforded the same opportunities, but they turned out differently. Raquel was driven while Melanie is unambitious.
At the turn of the Twentieth Century America is one generation removed from the civil war. For African Americans times are supposed to be improving following the Reconstruction of the south and the ratification of the 15th amendment. Except, in actuality life is still extremely tough for the vast majority of African Americans. Simultaneously, the birthing of the industrial revolution is taking place in America and a clear social divide in daily livelihood and economic prosperity is forming across the country. This time is known as the Gilded Age because as the metaphor emphasizes, only a thin layer of wealth and prosperity of America’s elite robber barons is masking the immense amount of impoverished American laborers. Among the vast majority
Wilson, William J. More Than Just Race: Being Black and Poor in the Inner City. New York: Norton & Company, 2009. Print.
In his essay, “On Being Black and Middle Class” (1988), writer and middle-class black American, Shelby Steele adopts a concerned tone in order to argue that because of the social conflicts that arise pertaining to black heritage and middle class wealth, individuals that fit under both of these statuses are ostracized. Steele proposes that the solution to this ostracization is for people to individualize themselves, and to ‘“move beyond the victim-focused black identity” (611). Steele supports his assertion by using evidence from his own life and incorporating social patterns to his text. To reach his intended audience of middle-class, black people, Steele’s utilizes casual yet, imperative diction.
[and] reimposes limitations that can have the same oppressive effect” (610). Writing “On Being Black and Middle Class” was Steele’s way of working through this issue that society has.
It is impossible for anyone to survive a horrible event in their life without a relationship to have to keep them alive. The connection and emotional bond between the person suffering and the other is sometimes all they need to survive. On the other hand, not having anyone to believe in can make death appear easier than life allowing the person to give up instead of fighting for survival. In The Book of Negroes by Lawrence Hill, Aminata Diallo survives her course through slavery by remembering her family and the friends that she makes. Aminata is taught by her mother, Sira to deliver babies in the villages of her homeland. This skill proves to be very valuable to Aminata as it helps her deliver her friends babies and create a source of income. Aminata’s father taught Aminata to write small words in the dirt when she was small. Throughout the rest of the novel, Aminata carries this love for learning new things to the places that she travels and it inspires her to accept the opportunities given to her to learn how to write, read maps, and perform accounting duties. Early in the novel Aminata meets Chekura and they establish a strong relationship. Eventually they get married but they are separated numerous times after. Aminata continuously remembers and holds onto her times with Chekura amidst all of her troubles. CHILDREN. The only reason why Aminata Diallo does not die during her journey into and out of slavery is because she believes strongly in her parents, husband and children; therefore proving that people survive hardships only when they have relationships in which to believe.
Moynihan perceives the inclusive problem amongst the black family to be its structure. This is a product of disintegration of nativism in the black community. The “racist virus” still flowing through the veins of American society hinders, in virtually all aspects, the progression of the Negro family. Moynihan discusses the normativity of the American family as a reason that people overlook the problems that occur in Negro and nonwhite families. He emphasizes the significance of family structure by stating “The family is the basic social unit of American life; it is the basic socializing unit.” (Moynihan, II 4). This assertion implies that due to the instability within the black family, socially, the Negro family would be unable to prosper. Because Moynihan feels the largest overall issue in the black family is structure it’s structure, he believes that it will only continue to disintegrate. To further his idea, Moynihan highlights the subdivisions of this structure: matriarchy, failure of youth, economic differences, alienation etc. Each of these subdivisions of family structure contributes to the overall issue Moynihan within the Negro family.
Since its start, the television industry has been criticized for perpetuating myths and stereotypes about African-Americans through characterizations, story lines, and plots. The situation comedy has been the area that has seemed to draw the most criticism, analysis, and disapproval for stereotyping. From Sanford and Son and The Jefferson’s in the 1970s to The Cosby Show (1984) and The Fresh Prince of Bel-Air in the 1990s, sitcoms featuring black casts and characters have always been controversial. However, their significance upon our American culture cannot be disregarded. During the 1950s and 1960s, 97% of the families were Caucasian. In the first five years of the 1990s, nearly 14% of the television families were African-American (Bryant 2001). These statistics obviously show the substantial impact our American culture has had on African-American television families.
After getting the apartment on 116th Street Lutie didn’t know what her next step would be. She didn’t know how long she would stay there. They had just enough money to pay rent, buy food and clothes. Being locked into poverty enables Lutie from seeing a future. “She couldn’t see anything but 116th Street and a job that paid barely enough for food and rent and a handful of clothes. “(147). This world she was living contrasts with places that were “filled with sunlight and good food and where children were safe was fenced off to African-Americans so people like Lutie could only look at it with no expectation of ever being able to have it.”(147). Lutie came to the realization as to why white people hate black people so much. It is because they are entitled to white privilege at birth. Take McIntosh’s “White Privilege-Unpacking the Invisible Knapsack” into account. McIntosh describes white privilege as invisible things that we are taught not to see. For example Mrs. Chandler, who employs Lutie as her maid. Mrs. Chandler has an advantage over Lutie, which puts Lutie at a disadvantage. People of the dominant society like The Chandlers have a “pattern running through the matrix of white privilege” (McIntosh), a pattern of assumptions that were passed on to them as a white person. “[The Chandlers] are taught to think of their lives as morally neutral, normative, and also ideal.”(McIntosh). In proportion as The
In Stuart Hall’s “What is This “Black” in Black Popular Culture?” the historical implication of popular culture in the U.S is examined and the influence that blackness has in it is deconstructed. According to the text, the departure of European concepts of culture after WWII sparked a hegemonic shift as the United States emerged as a world power. Due to this, the U.S. became the epicenter of global culture production. However, since America has always had a large ethnic population due to slavery, the true face of American popular culture was black American vernacular traditions. Even today, slang that emerge from black ghettos and communities become highly popular with people of other races. In fact, much of black culture is not just our culture,
For example, the show Everybody Hates Chris portrays an African-American family living in Bed-Sty, Brooklyn. The family is shown as living from paycheck to paycheck and trying to better their lives. Yet, the neighborhood around them influences many of their decisions. Many of the minor characters are portrayed as African-American people who will do anything in order to survive, such as murder or steal. It also shows the Caucasian persons as being superior and “better”.
... 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.