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Racism in animation
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Recommended: Racism in animation
Alfonso Guillen
Mr. Laureano
English II
13 December 2016
Racism and stereotypes in Cartoons : History of Racism in Animation
Every single Looney Tune character is a racial stereotype. Examples of this are, Speedy Gonzales, who is the Mexican stereotype, Pepe LePew, the smelly misogynistic French man, and Blackface. The characters are enhanced and are made to make a mockery of what they represent. Cultural traditions are disrespected and are depicted as fools. Cartoons were used to control the opinion of a specific cultural group by making them feel less than by depicting them to look stupid, making fun of their language, and altering and exaggerating their appearance.
In the 1938 cartoon, The Island of Pingo Pongo, the black characters are depicted as savages and wild animals. They have big lips, big feet and play jazz in the jungle. Right after the narrator says, “We hear the primitive beat of Jungle Tom-Tom. We come upon the beat of native musicians beating up the savage rhythm that is as old and primitive as the jungle itself,” the natives start singing the song “She’ll be coming round the mountain”. That song was sung by enslaved Africans. The audience connects jazz music with living in the jungle and being uncivilized.
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Speedy Gonzales is portrayed as a Mexican rat wearing a big sombrero, white shirt and pants and a red handkerchief. He also spoke English combining Spanish words.
“Hola Pussycat! Are you looking for a nice mouse
Rachel M. Harper’s The Myth of Music intentionally weaves together 1960s era jazz music and a poor African American family via metaphor and allusion to show a deep familiar bond between father and daughter.
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
In her essay, Brown uses a Creole term, “gumbo ya-ya”, which is at the essence of jazz, to weave a musical metaphor to explain that history is comprised of many rhythms played simultaneously, and which must be brought together to form a complex narrative, which is both multiple and asymmetrical. She sees African American culture as a means to rethink history and politics in an inclusive way.
This song is connected to this historical event because Gil Scott-Heron also included into this song of how African Americans are not given any credit. Furthermore, many treat them as even if they do not exist, especially the government and the media. Nevertheless, Scoot-Heron showed the world thru this song how African Americans were not even notice, or received an accomplishment for anything by the media or the government. Therefore, throughout this song it can be seen how Scott-Heron includes the historical event of the Black Power
helping. Television is making the shows out to seem like one race is better than another. For
Looney Tunes, a popular cartoon from the 30s to the 60s brought many children hours of entertainment, with its entertaining plot and hilarious antics, which people of all ages enjoyed. In many of its early episodes, there were many times Native Americans made appearances. Many of the characters go off of the stereotypes that had been passed down from the 18th and 19th centuries. In this paper, I focus on the images of Native Americans in the children’s classic cartoon, Looney Tunes, while also exploring the interactions and portrayals of the Native American characters. With a closer look at how the stereotypes surrounding Native Americans from the 18th and 19th centuries continued to thrive into the 20th century, this reveals how these stereotypes were embedded into a person’s mind from a very young age.
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Not all African Americans are thugs and people that do not work. A lot of them have successful careers and have put in the time and effort to have good work ethic and be good people. African Americans have had a difficult history in the American film industry. During the early 20th century of filmmaking, blacks were stereotyped as not worthy of being in films, and they were only certain types of characters such as servants, mammies, and butlers. From several decades of filmmaking, African Americans have been sought out to be trouble makers, incapables, intellectually limited, and also lazy. Although blacks have won Academy Awards for acting, screenwriting, and music production they still find trouble in getting quality roles within the film industry. (Common Black Stereotypes)
For many years, racial and ethnic stereotypes have been portrayed on multiple television programs. These stereotypes are still illustrated on a day-to-day basis even though times have changed. Racial or ethnic stereotypes should not be perpetuated on certain television programs. These stereotypes provide false information about groups, do not account for every person, allow older generations to influence younger generations, create tension between groups, and affect people in many ways.
Monson, I. (2010).Freedom sounds : civil rights call out to jazz and Africa. New York Oxford: Oxford University Press.
Despite many progressive changes, racism is still a major issue. No one is born racist, racism is taught and it is taught in popular culture. Younger generations are exposed to racism through popular culture; one of the many mediums in which racial stereotypes are still supported. Matt Seitz, in his article, “The Offensive Movie Cliche That Won’t Die” claims that metaphorically, in popular culture cinema, African-Americans are mentors of a white hero, but beneath the surface, it is racially offensive towards these mentors because they are still considered servants of whites. Michael Omi, in “In Living Color: Race and American Culture” adds to the claim of Seitz that racial issues in our society brought on by the media and popular culture. He
Specifically a place called Congo Square (now part of the Louis Armstrong Park) is esteemed as the birthplace of jazz. Here, it is recorded that enslaved Africans would gather to keep their culture alive through song and dance. Primarily using drums and other percussive instruments, they were able to create pulsating and throbbing paeans to their heritage (Evans 1-2). With the subsequent incorporation of accompaniment by other instruments and other musical styles, these characteristic rhythmic cells and vigorous drumbeats became intrinsic to the development of what would later become jazz (Evans 2-3).
As it mentioned above, the title itself, draws attention to the world-renowned music created by African Americans in the 1920s’ as well as to the book’s jazz-like narrative structure and themes. Jazz is the best-known artistic creation of Harlem Renaissance. “Jazz is the only pure American creation, which shortly after its birth, became America’s most important cultural export”(Ostendorf, 165). It evolved from the blues
In my opinion, based on race, gender, and class artworks that depict stereotypes are usually perpetuate the idea rather than challenging them. Artists address stereotype and identify gender and race in a verity of ways to propagate their idea all around the world. For instance, The Liberation of Aunt Jemima, by Betye Saar is one of the artists who made a collage that depicts an African American in many ways. Another artwork that directly depicted racial stereotypes in a traditional way is the photographs of "From Here I Saw What Happened and I Cried" by Carrie Mae Weems. She explored issues of race, class, and gender, portraying the African American photograph through her work depiction of racial stereotypes and use of historical references.
The Animation industry acknowledges that what the past generations considered acceptable in their time, is no longer appropriate for audiences today, but they still want to preserve history while giving a warning before viewing. The classic animated cartoon,” Tom & Jerry,” has had its fair share of racism in the show which was approved of in the 1940’s and 50’s, but in modern society those ideals are viewed as a form of Discrimination and Racism. The Metro Goldwyn Mayer Company have included a warning message at the beginning of classic Tom & Jerry cartoons, "Tom and Jerry shorts may depict some ethnic and racial prejudices that were once commonplace in American society,"