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Depiction of blacks in Hollywood
Depiction of african americans in hollywood
Depiction of blacks in Hollywood
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Lupita Nyongo is up for an academy award for her debut performance in the blockbuster 12 Years a Slave (Butler 2). Despite not being known a year ago, these days Lupita commands an audience when she speaks (Butler, 3). She has recently joined a select list of actors having won an Oscar for their first performances in a feature film (Dyer Jr. 2). On February 28th, Lupita delivered an acceptance speech during the Essence Black Women in Hollywood awards. In her speech, Lupita addressed the preconceived notion of racial beauty in Hollywood. The following essay will seek to prove that Lupita Nyongo speech inadvertently breaks down the barrios of racial beauty by challenging the notion of that beauty is merely skin deep. I will do so by breaking down each portion of her speech and explain how the ethos of her argument helps to support the fight against racial marginalization within Hollywood.
Born in Mexico and raised in Kenya, Lupita Nyongo represents the polar opposite of traditional Hollywood starlets (Butler 3). For one, her hair is as short as a male, she’s black, and dark skinned to boot (Butler 3). While her debut in 12 Years a Slave put her on the map, her speech at the Essence Black Women in Hollywood awards show launched her into stardom (Dyer 2).
In the beginning of her speech, the actress explains that she was struck by a letter from a fan, who wrote about her contemplation on purchasing skin bleaching cream; until Nyongo “appeared on the world map” and saved her (Butler 3). In Maxine Leeds Craig’s book Aint I a Beauty Queen?: Black Women, Beauty, and the Politics of Race, she explains that depictions of strong willed women “usually presented in a sympathetic light” are limiting in the entertainment industr...
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... similar journey. That you will feel the validation of your external beauty, but also get to the deeper business of being beautiful inside.
Work Cited List
1. Butler, Bethone. "Lupita Nyongo's Speech on "Black Beauty" Underscores Her Significance in Hollywood." Washington Post, 1 Mar. 2014. Web. 22 Mar. 2014. .
2. Craig, Maxine Leeds. Ain't I a Beauty Queen?: Black Women, Beauty, and the Politics of Race. Oxford: Oxford UP, 2002. Print.
3. Dyer, Herbert, Jr. "Lupita Nyongo: A Star Is Born among a Family of Stars." Allvoices. Pulsepoint, 6 Mar. 2014. Web. 19 Mar. 2014.
4. Snead, James A., Colin MacCabe, and Cornel West. White Screens, Black Images: Hollywood from the Dark Side. New York: Routledge, 1994. Print.
Film Historian Donald Bogle, the author of “Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films,” offers compelling and informative examples of various stereotypes of African-Americans performers. He emphasizes on historical characteristics of gifted black actors/entertainers; renovating their roles to disseminate specific representations that are significant to the economics and history of America’s shifting environmental circumstances.
By the twentieth century, slavery had damaged black pride, and made it known that black features were inferior. When it came to black women and their hair, black women desperately wanted to match the standard of “white” beauty. Walker’s solution to this was to create a look that was Afro-American without trying to imitate whites. Walker spoke about beauty emphasizing that to be beautiful does not refer to the complexion of your skin, or the texture of your hair, but having a beautiful mind, soul, and character.
Sapphire, more commonly viewed 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 on 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 Latina women, even throughout the era resistance cinema, have not been able to make much progress in overcoming the degrading stereotypes that Hollywood has created for them. Despite the many advances that minorities have made in the cinema in recent years, Latina actresses still take on the roles of the "dark skinned lady" and other such stereotypes with strong sexual connotations. It is often debatable whether or not the role of the Latina has undergone dramatic changes since the days of Dolores Del Rio and Carmen Miranda dancing with the fruit baskets on top of their heads. However, in recent years there has been an emphasis by various Latinas in the film industry to combat such stereotypical roles and redefine themselves through the film medium, especially by means of documentaries. It is hopeful that the existing portrayals of Latina women as the sex object and desirable mate will gave way to a range of opportunities in cinema with roles of a more powerful and influential nature.
From the early ages of American film, Latino women have been portrayed in a negative light. Has this image changed over the years? The answer to this question is left up to the viewer, but there is one thing that has not changed in the portrayal of Latino women in American film. That is the clear distinction between two stereotypes of Latino women; the "innocent, passive Madonna" and the "hot blooded, fiery, sexy whore". In the case of the hot-blooded tamale, these images date back to the 1930’s in Lupe Velez and to the present Rosie Perez. Dolores Del Rio and Maria Montez represent the virgin Senorita. (Rodriguez 75-7) These are just some of the actresses that have portrayed characters that fit into these two stereotypes. Other actresses include Carmen Miranda, Natalie Wood, and Rita Moreno. These actresses are featured in the following films, West Side Story, Flying Down to Rio, Mexican Spitfire, and White Men Can't Jump. These two stereotypes have been carried out in American cinema from the thirties to today and are a common theme in many films.
The two-time Oscar nominee, 50, took the opportunity to make a statement about racial inequality in Hollywood. She also thank the people who helped get her into a leading role.
"29 n The Color Purple: Black Women as Cultural Readers." Cultural theory and popular culture: A reader (1997): 310.
In today’s society, pre-existing assumptions and stereotypes of other ethnicities and individuals play a large part in the way we see others. This social construct of stereotypes has placed restrictions on many people’s lives which ultimately limits them from achieving certain goals. In this sense, stereotypes misrepresent and restrict people of colour to gain casting within the Hollywood film industry. The issue of how casting actors to certain roles and how these actors are forced to submit and represent these false stereotypes is one worthy of discussion. White Chicks (2004), directed by Keenan Wayans, illustrates this issue through the performance of Latrell, performed by Terry Crews, and his performance of the hyper-sexualised “buck” will be a prime example in this essay to discuss the racial politics and stereotypes in Hollywood casting.
...g place for a long time now; blacks have went from not being banned from certain stages to dominating theater with actors and actresses such as Halle Berry and Denzel Washington. In modern day film, African-Americans have prevailed over all of the negative setbacks, and as the old Negro spiritual says, "We shall continue to overcome."
Mass media are well known for having an influence on different stereotypes. In order to understand the angry black woman myth, one must know how it was transferred in the media. Georgia State University graduate Nargis I. Fontaine in his essay From Mammy to Madea, and Examination of The Behavior of Tyler Perry’s Madea Character in Relation to The Mammy, Jezebel, and Sapphire Stereotypes he mentions how was the stereotype was reacted before mass media. He states “Before film and television were developed, minstrel and sideshows were the source of African American based entertainment. Minstrel shows were performed by White individuals dressed to impersonate Blacks and behaved in a White interpretation of African- American behavior” (FONTAI...
“Hollywood is an industry that gravitates toward trends, but the natural hair movement has gone unnoticed and unaddressed on small screens all across the country” (Gordon, 2015, para. 4). Recently, the shows that are rated high, black women are wearing weaves and wigs instead of their natural, unprocessed hair. When analyzing Olivia Pope from scandal or Gabrielle Union from Being Mary Jane we all see that they obviously wear weaves and wigs. Even though natural hair is missing from hit TV shows, some stars, such as Lupita Nyong’o, the 12 Years a Slave star has strutted the red carpet with their natural hair on display. Only time will tell when more roles will feature women like Tracee Ellis Ross; starring in ABC’s new comedy Black–ish, sporting the big natural hairstyles that more and more Black women have been embracing. I believe actresses have fear of being limited by their natural hairstyles and that’s why weaves and wigs continue to dominate the
EBSCO HOST. Web. The Web. The Web. 17 Feb. 2014. Madison, D. - Soyini, S. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship."
As a child Jennifer loved to sing and dance and immediately her parents recognized her talent and enthusiasm for performing so they the enrolled her in dance classes. Her mother, Guadalupe, said "Jennifer always loved to sing, but she was also a great actress and knew that she would have a bright future ahead of her.” Jennifer grew up, very close to her family, she even bought her mother a Cadillac with the
Those who deny the existence of the racism rooted into modern day Hollywood are far from reality. They may think that in the United States we are getting closer to equality when it comes to casting but we in fact are not. While there is the belief that America has progressed when it comes to social issues, the percentage of roles held by black actors in film and TV has dropped from 15 to 13 percent from the early 2000’s to 2011 (McClintock and Apello 2).
It is suggested that this new wave of films was an attempt to promote the shift in moog change and ideologies created from the civil rights movement of the late 1960s. Watkins contends that “the industry’s sudden interest in and exploitative turn to ghetto narratives was a swift response to new market opportunities and popular appetites made possible by the currents of social change” (172). Not only that, but these movies were helping the industry to make the big bucks because of the youth moviegoers. Watkins states that “the language, fashions, cultural productions, and allegedly nihilistic lifestyles associated with ghetto youth seem to give life to the production of new popular culture trends in the United States” (175). Even with the genre’s popularity and commercial success, Watkins refers to the time period that these movies originated as the Blaxploitation era because of the exaggerated configurations of blackness (172).