More handpicked essays just for you.
Representation of minorities in american cinema
Essay on black women in the media and movies
Racism then and now for the african american male
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Representation of minorities in american cinema
Bell Hooks, in chapter 7 titled “The Oppositional Gaze” in her book In Black Looks: race and Representation claims that all attempts to repress black people’s right to look produced an overwhelming longing to look, a rebellious desire, an oppositional gaze (p. 116). According to Hook, a "look to document is a look of opposition," it is critical gaze, and that one learns to look a certain way to show resistance. The black people’s oppositional black gaze is what prompted black people to develop an independent black cinema (P. 117). Hooks states that black females view films differently than black males, and that feminist theorists like Mulvey in their feminist analysis of films, have not theorized the black women perspective. I agree with Hooks that black women are subjected to black the male gaze just like white women are in films and television. …show more content…
According to Hooks, when black people in the United States first had the opportunity to look at film and television, it was the first time that black males could look at white women without being punished for it. Hooks also states that even black male film producers centered black women as objects of the male gaze (p. 118). Black males also face discrimination and racism, but they still have the privilege to assume a phallocentric gaze define by Mulvey, a gaze that places black women at the bottom of beneath white males, white females, and black males, in this particular order in our
Bell hooks covers an abundance of issues through different class, race, gender and nation. In her article ‘Feminism A Movement to End Sexist Oppression’ she begins by discussing the oppression of mainly black women who are in a lower class. Hooks discusses if men become associated with the feminist movement it would mainly affect the upper class and middle aged white women while just scratching the surface for working-class and poor women. In the recent article ‘Representing Whiteness in the Black Imagination’ bell hooks discusses the oppression about the racism faced by black people. I find it that this article is more non-intersectional because we are only talking about black people in general. We can only assume that hooks is discussing racism faced by poor black people because they were servants. Further into the article however hooks does focus on African Americans and we read upon what their impression of the white man could be. Hook also looks as students and how racism occurred in one of her class discussions. Finally, we look at the view of two black women and how they faced racism. The first woman was Njeri from ‘Every Good-Bye Ain’t Gone and how her grandfather was run over by 2 white guys. The second woman was Sethe from ‘Beloved’ by Morrision and how she killed her young because she didn’t want them to grow up in a world of terror. I found it that hooks did not say specifically who she is talking about like in her article ‘Feminism A Movement to End Sexist Oppression’ but is targeting the topic of racism all
Bell Hooks demonstrates the unrealistic beauty standards for African-American women through the 1900’s. African-American women were conformed to change their appearance to imitate white people looks; which is to straighten their hair. Hooks states, “Individual preferences (whether rooted to self hate or not) cannot negate the reality that our collective
This paper analyzes the media being one of the greatest influences of society perceptions, their false portrayal of African American males significantly impacts how society perceives and behaves towards them, and how black males see themselves as well as their opportunities and achievements. African American males are perceived as being dangerous based on false identities, misconceptions, and misinformation that are available in the media; this includes movies, news, television shows and rap music. This misconception can be traced as far back as slavery. The view of the African American male has been distorted and twisted by the media from the conception of African American enslavement and even through the so-called color blind society of today. Stereotypes of African American men are often negative as the result of how slave owners viewed their thoughts of entitlement of ownership.
...owledge is unavailable to an individual such as a language barrier or rare interaction with one another, television provides society with images that influence and shape their perceptions. The higher the exposure, the more people are inclined to recall what they have viewed and apply it to their everyday lives and scenarios. Bill Cosby stated in 1994 that blacks in the media tended to be “menacing, untidy, rebellious, disrespectful, buffoonish, sexual, immoral, hopeless, untrained, uneducated and noisy” (Punyanunt-Carter 243). He concluded that most black roles were negative and stereotypical. These damaging –portrayals that do not shed a positive light on African Americans often focus on reaffirming harmful racial stereotypes.
Racism and discrimination continue to be a prevalent problem in American society. Although minorities have made significant strides toward autonomy and equality, the images in media, specifically television, continue to misrepresent and manipulate the public opinion of blacks. It is no longer a blatant practice upheld by the law and celebrated with hangings and beatings, but instead it is a subtle practice that is perceived in the entertainment and media industries. Whether it’s appearing in disparaging roles or being negatively portrayed in newscasts, blacks continue to be the victims of an industry that relies on old ideas to appeal to the majority. The viscous cycle that is the unconscious racism of the media continues to not only be detrimental to the white consumers, who base what they know about blacks by what is represented in television, but also the black consumers, who grow up with a false sense of identity.
bell hooks closes her essay by saying, “If black men are betraying us through acts of male violence, we save ourselves and the race by resisting.” (123) I believe in what she is saying, but she is one sided. Maybe she is just saying that we, as women, would rather be called just ‘girls’, ‘women’ or even ‘chicka’, but that is every woman, not just the black women. But, did she even think about the girls (black and white) that like to be paraded around like giraffes at a circus? Did she realize that she is just one person, as am I, and she can’t change the world she lived in? The world is cruel and evil and some of the men in it are just as nasty and immoral, but it’s our choice whether to live in the world…or in the circus.
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...
There have been many twists and turns in the ways in which the black experience was represented in mainstream America cinema. But the repetition of stereotypical figures, drawn from ‘slavery days’ has never entirely disappeared (Hall, 1997). A Stereotype can be described as a widely held but fixed and oversimplified image or idea of a particular type of person or thing (Oxford University Press, 2014) and can affect the target by getting hold of a few simple, vivid, memorable, easily grouped and widely recognised characteristic, about a person and reduce everything to the specific traits and exaggerate them (Hall, 1997). One of the most well-known stereotype has to be the ‘Black-stereotype’ which can be seen in all media productions ranging from news, film, music videos, reality television and other programming and forms of entertainment. Beginning around 1830, the history of African-Americans is a centuries old struggle against oppression and discrimination and because of these major issues, popular representations of racial ‘difference’ during slavery, has caused two main themes that are seen as blackface stereotypes today.
Often racial injustice goes unnoticed. Television tries to influence the mind of their viewers that blacks and whites get along by putting them on the screen to act as if interracial relationships has been accepted or existent. “At the movies these days, questions about racial injustice have been amicably resolved (Harper,1995). Demott stresses that the entertainment industry put forth much effort to persuade their audience that African Americans and Caucasians are interacting and forming friendships with one another that is ideal enough for them to die for one another. In the text, Demott states “A moment later he charges the black with being a racist--with not liking whites as much as the white man likes blacks--and the two talk frankly about their racial prejudices. Near the end of the film, the men have grown so close that each volunteer to die for the other” (Harper,1995). Film after film exposes a deeper connection amongst different races. In the text, Demott states “Day after day the nation 's corporate ministries of culture churn out images of racial harmony” (Harper, 1995). Time and time again movies and television shows bring forth characters to prove to the world that racial injustice has passed on and justice is now received. Though on-screen moments are noticed by many people in the world it does not mean that a writer/ director has done their
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
This fieldwork aims to sociologically analyze gender roles and expectations within the movie White Chicks. In this film brothers, Marcus and Kevin Copeland, play the role of two black FBI agents looking to get back into good graces with their superior after they accidentally ruined a drug bust. They are assigned to escort two rich white females, Brittney and Tiffany Wilson, to the Hamptons for Labor Day festivities. While traveling they experience a minor car accident, leaving the girls with a single scratch each on their face. Because of their socialite status, the sisters no longer wish to continue their trip in fear of humiliation. The agents fear losing their chance of redemption, so they decide to disguise
Seitz argues that M.Ns are happy to help their masters at any time. African-Americans are serving whites to succeed in their life and these mentors willingly serve whites. Seitz states, “Magical Negro”: a saintly African-American who acts as a mentor to a white hero… [their] relationship is that of a master and servant… one that truly lives to serve, has no life to speak beyond his service” (Seitz 357). Years after the end of slavery, blacks are still considered as servants of whites in America. Even though social reforms have ended slavery and the exclusion of blacks from society, whites still consider blacks as their slaves and this has been portrayed ambiguously in many movies. In pro-white popular culture, African-American actors and actresses have not received fair treatment to perform at the highest of their abilities. In today’s modern world, there are roots of racism; popular culture and mass media production are very important key factors in promoting the racial distinction in our society. In this modern world, media and television are a part of everyday life. People have easy access to movies and TV shows; viewers of these shows tend to believe what is being shown. Films and TV shows have played a significant role in reestablishing racism and discrimination in popular culture. Many of the mass media production industries have characterized racial stereotypes. Omi reveals racial stereotypes, “[in
Toni Morrison, the author of The Bluest Eye, centers her novel around two things: beauty and wealth in their relation to race and a brutal rape of a young girl by her father. Morrison explores and exposes these themes in relation to the underlying factors of black society: racism and sexism. Every character has a problem to deal with and it involves racism and/or sexism. Whether the characters are the victim or the aggressor, they can do nothing about their problem or condition, especially when concerning gender and race. Morrison's characters are clearly at the mercy of preconceived notions maintained by society. Because of these preconceived notions, the racism found in The Bluest Eye is not whites against blacks. Morrison writes about the racism of lighter colored blacks against darker colored blacks and rich blacks against poor blacks. Along with racism within the black community, sexism is exemplified both against women and against men. As Morrison investigates the racism and sexism of the community of Lorain, Ohio, she gives the reader more perspective as to why certain characters do or say certain things.
Madison, D. Soyini. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship." From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Indianapolis: Indiana UP, 1995. 224-35. Print.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...