Black individuals had a perceived power that was enough to make a change in the black film industry of the 1970s for black women. They were the stereotypical mammy, tragic mulatto role or sex object that did not have the right to own her body. Blaxploitation was at its peak during the 1970s, where black films were made for black audiences and were full of stereotypes. Pam Grier part buck, mammy and mulatto would challenge this idea by making political messages in her films, that women, too, are assertive. Traditionally women are played as submissive to men, but, “Although men manhandle them, Grier ... also took liberties with men, at times using them as playful, comic toys” (Bogle 228). Taraji P. Henson would become the modern day Pam Grier, a dominating figure in black film. …show more content…
Henson would become the contemporary version of Pam Grier as a defiant women. Henson is a light skin, strong, independent black woman who takes on an authoritarian figure: the buck and the mammy. In the television show Empire she plays Cookie. Cookie is representative of power, which is not completely accepted in American society because the black man dominates the women. Nonetheless, Cookie’s role did not allow any man to control her. Even with the power she held, she is the mother who takes care of her children and does everything for them. Even though, Grier was not a mother, in lecture, we were shown Badass Cinema where Pam Grier was described as the resisting image of black woman in contemporary time, a resistance that Henson would take on (White). Henson and Grier are two very outspoken black woman who have begun a transformation of black actresses roles in black
wouldn’t work or it would be very hard to pull off. But if the lights
Minstrel shows were developed in the 1840's and reached its peak after the Civil War. They managed to remain popular into the early 1900s. The Minstrel shows were shows in which white performers would paint their faces black and act the role of an African American. This was called black facing. The minstrel show evolved from two types of entertainment popular in America before 1830: the impersonation of blacks given by white actors between acts of plays or during circuses, and the performances of black musicians who sang, with banjo accompaniment, in city streets. The 'father of American minstrelsy' was Thomas Dartmouth 'Daddy' Rice, who between 1828 and 1831 developed a song-and-dance routine in which he impersonated an old, crippled black slave, dubbed Jim Crow. Jim Crow was a fool who just spent his whole day slacking off, dancing the day away with an occasional mischievous prank such as stealing a watermelon from a farm. Most of the skits performed on the Minstrel shows symbolized the life of the African American plantations slaves. This routine achieved immediate popularity, and Rice performed it with great success in the United States and Britain, where he introduced it in 1836. Throughout the 1830s, up to the founding of the minstrel show proper, Rice had many imitators.
...black woman myth has not been studied as intensely as the Jezabel and Mammy images, it still has significance in present society. Sapphire, more commonly views as the angry black woman is viewed as, the bad black woman, the black “bitch, and the emasculating matriarch (88). The reason there may not be much research on this myth is because many researchers themselves acknowledge the stereotype (89). The stereotype is seen not as black women’s anger towards the unequal treatment and circumstances they endure, but an irrational desire to control black males, families, and communities around them (95). This stereotype bestows yet another double standard for black women in America today. While a white woman’s passion and drive may be seen as ambitious and exceptional, a black woman displaying the same perseverance would be seen in a negative rather than glorified light.
The Author of this book (On our own terms: race, class, and gender in the lives of African American Women) Leith Mullings seeks to explore the modern and historical lives of African American women on the issues of race, class and gender. Mullings does this in a very analytical way using a collection of essays written and collected over a twenty five year period. The author’s systematic format best explains her point of view. The book explores issues such as family, work and health comparing and contrasting between white and black women as well as between men and women of both races.
After watching Imitation of Life, it becomes quite clear that the race and gender of a person affects them gravely. These intersectional forms of oppression help to determine how society will treat a person, and how a person may treat/view themselves. Debuting in 1959, issues displayed within this film are still present within society in 2015. As woman are discriminated against, so are Black people, and while being a White woman in a patriarchal society holds some restrictions and privileges, being a Black woman in an racist patriarchal society welcomes constant hardships of struggles. Both within this film and in reality, issues concerning the way both White and Black women are treated and the roles they are allowed to play on screen (during
In modern day society, popular culture has gained equal status to world issues and politics. Music, movies, and literature have started cultural revolutions and challenged the straight-forward thinking many individuals have accepted in the past. But while popular culture can advance new ideas and create movements, it also has the ability to challenge advancements society has made. Imani Perry’s essay, The Venus Hip Hop and the Pink Ghetto, focuses on hip hop and its negative impact on women and body image.
She was the first black to win an academy award. Hattie Mcdaniel’s role in Gone With the Wind only confirms the stereotype of the Mammy caricature in film by expressing her character as a big old woman with the small, sharp eyes of an elephant. Her skin assumed her to be pure African and this, in this era, was said to be ugly in the eyes of white society. Her character was devoted to the family that she was enslaved to. She was desexualized in the films as an ugly black woman who was enormously obese. No white man in their right mind would want a woman such as this. This character directly correlates to the Mammy caricatures that were first made in animated format. The Mammy caricature was created by whites to imply that black women were only meant to be domestic servants.(Authentic
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
The mammy role can be attributed to Hattie McDaniel’s character in Gone with the Wind (1939) that shares the same name. This role shows a black woman whose only purpose was to “appease the racial sensibilities of whites” (Boyd, pg. 70). She was “the faithful servant to the white family”(Boyd, pg. 71), always willing to service without compliant. It was a direct relation to what was happening in life at the time; not many jobs were available to African American women besides being a nanny or maid. In fact McDaniels once stated, after getting much backlash from the black community over the Mammy roles she constantly took, “Why should I complain about making seven thousand dollars week playing a maid? If I didn’t, I’d be making seven
Despite the fact that the character of Phyllis as the “tough as nails” perpetual, intentional aggressor is a valid attempt to obliterate the image of women as the oppressed, one interpretation of this role is that she ultimately seems to misrepresent herself, and females in cinema, anyway. Janet Todd, author of Women and Film, states that, “Women do not exist in American film. Instead we find another creation, made by men, growing out of their ideological imperatives”(130). Though these “power girl”characters are strong examples of anything but submissive and sexual females,the...
Whaley (2016) has contended, “Black image in comics has been one of grotesque caricature, often taking its cues from white fantasies of slavery and the minstrel stage”(p. 37). Jackie Ormes made a conscious effort to draw Black femininity. In each one of her characters exhibit realistic facial and body features. How would Jackie use her platform through the newspapers to challenge, reframe, and create a counterstory to the narratives in the comics strips and cartoons. Ormes drew her characters in her likeness, light-skin, straight short hair, small shapely physique, small nose, small lips a major contrast to the Mammy images representing Blackness. I will examine the three main comic strips Ormes drew, Torcy, Candy, and Patty Jo ‘n’ Ginger.
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).
White privilege is incredibly in evident in Rush Hour through the roles of the FBI agent in charge of the case. When the Chinese consular calls Lee for backup. The FBI agents feel threatened and annoyed and use the excuse that Lee will simply become a distraction and liability on the case. To the agents, Lee is a foreigner whose crime fighting tactics are subpar when it comes to the almighty FBI of the United States of America. They believe their department is the number one enforcer and that Lee will simply be a pest. As a result, they assign Carter, who is African American, to babysit him. As a result, the entire film is about their desire to find the consul’s daughter despite the commands of the FBI. Pham makes the comment that “Because Lee and Carter are the racial underdogs who successfully challenge two white FBI agents, they represent globally sympathetic figures” (Pham 126). As audience members, we often root for the underdogs and celebrate their victories. At the end of the film, Lee and Carter save the day, while the FBI agents experience embarrassment for not having trusted them. But is that all they get? Embarrassment? In today’s day and age, a public announcement of this racial discrimination would have gotten those FBI agents fired. Hollywood’s omission of the repercussions of exhibiting racism just goes to show that white privilege is incredibly prevalent. The FBI agents belong to the dominant class. Desmond and Emirbayer point out that
“Portraying African-American women as stereotypical mammies, matriarchs, welfare recipients, and hot mommas helps justify U.S. black women’s oppression” (Patricia Hill Collins, Feminist Thought Sister Citizen 51). In early American history, racial stereotypes played a significant role in shaping the attitude African Americans. Stereotypes such a mammy, jezebel, sapphire and Aunt Jemimah were used to characterize African American women. Mammy was a black masculine nursemaid who was in charge of the white children. The stereotype jezebel, is a woman who wants sex all the time. White Americans saw black women as loose, oversexed and immoral. This stereotype still lives today because men especially whites look for black women to be their prostitutes.
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.