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More handpicked essays just for you.
Media and racial stereotypes
Ethnicity stereotypes in the media
Minorities in the media today
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In “The Oppositional Gaze: Black Female Spectators,” Bell Hooks explains in spite of the oppressive acts African American women dealt with through early history, there has been recent movement within television and film to oppose stereotypical views against African American female citizens. Hooks supports her position by summarising the antiquity of white supremacy in mass media, along with the sexist movement presented in films by African male filmmakers to have women as an object of a male’s gaze in films. This has proven not only African American women are degraded by white citizens in mass media, but also by their male counterpart. The lack of diversity led to many black women across the United States to have a distasteful appeal towards film.
The article explains many cases in which black women previously treated inferior in North America. Hook describes an essay about Sapphire from Amos ‘n’ Andy, as a lesson in which African American women are represented in television and film then rejected by the people who inspired the image (Hooks 252). Sapphire was depicted as angry, bossy, and stereotypical, which did not reflect an overall good image of black women during those years. Stereotypical representation of black women during those years caused damage
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to one's self-esteem, leaving many African American women silent about their opinions. This may be caused out of fear based off from previous historical punishment such as slavery. After awhile, Hooks try to create an oppositional gaze towards segregation against gender and ethnicity.
To not only see the lack of black women presence in television and film, but to search at other cultures to gain a better understanding of the world. Although, the author still criticizes feminism to be catered toward once race, concluding with feminism during that time only appealed to white women. The reading depicted the uneasy feeling impression of the “being the only black female present in the theatre” (Hooks, 258). Hooks experiences this activity when she attends to view foreign/independent films in the theatre. Hooks’ experience describes the lack of diversity in television and film during her
era. This reading further describe the revolution of African American women standing up for themselves against discrimination against other cultures and men. This includes several filmmakers such as black women filmmakers Camille Billops, Kathleen Collins, Julie Dash, Ayoka Chenzira, Zeinabu Davis” (Belton, 261). It led to many black women to stand up to their beliefs by producing mass media content empowering African American women. A few pieces created by African American women include Illusions and Passion of Remembrance. Julia Dash’s inspiration based on the film Illusions, explains the problem with race and spectatorship between two ethnicities.Overall, this section teaches the reader the empowerment of African American women in television and film has reflected the raw history of prejudice in the U.S, and the movement for artistic professionals in mass media to alleviate the division of culture. Bell Hooks’ piece has taught us the power of taking action in order to change society into accepting diversity.
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.
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.
Marlon T. Riggs’ video, Color Adjustment, offers the viewer an exciting trip though the history of television, focusing on the representation, or lack thereof, of African-Americans. A perfectly chosen combination of television producers, actors, sociologists, and cultural critics join forces to offer insight and professional opinion about the status of African-Americans in television since the inception of television itself. As Color Adjustment traces the history of television shows from Amos n’ Andy and Julia to "ghetto sitcoms" and The Cosby Show, the cast of television professionals and cultural critics discuss the impacts those representations have on both the African-American community and our society as a whole. Color Adjustment continually asks the question: "Are these images positive?" This video raises the viewer’s awareness about issues of positive images for African-Americans on television.
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
Many people in America like to think that racial stereotyping and racism is a thing of the past, but racial stereotyping is still prominent in America. Although racial stereotyping and racism significantly slowed down, it still remains a major factor in American society. In “The End of Post-Identity Television,” Aymar Jean Christian argues the fact that race is not a major factor in casting characters in a television series or a movie, he reveals that race is not relevant anymore. In Michael Omi’s “In Living Color: Race and American Culture,” he argues how racial stereotyping and racism still exist in America. The Cosby Show seeked to change racial stereotyping in television by portraying an upper-middle class African American family. The Cosby Show attempted to break barriers for African Americans in television and did so by paving the way for other major African American based sitcoms. “The End of Post-Identity
In mainstream America, black women are often stereotypically portrayed as sex workers, welfare queens, blue-collar service workers, video vixens, and entertainers (Collins 2004). Within these stereotypical depictions, black women are viewed as loud, angry, ghetto, hypersexual, and sometimes violent (Chavous et al. 2004; Childs 2005; Collins 2004; Nguyen & Anthony 2014; Wilkins 2012). In contrast, positive stereotypes of black women showcase them as strong, independent, resilient, loyal to their families and romantic partners, and responsible for sustaining the African American family. These images promote constructive illustrations of black women, even though popularized images negatively portray black women (Chavous et al. 2004;
Woll, Allen L and Randall M Miller. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. n.d. Print.
... 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.
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...
EBSCO HOST. Web. The Web. The Web. 17 Feb. 2014. Madison, D. - Soyini, S. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship."
Women of color in mainstream pornography are often fetishized and objectified for the male gaze in accordance to stereotypical presentations of their sexualities. Stereotypical submissiveness of Asian women informs passive and abusive performances from talent. Though the stereotypical hypersexualization of Black women as jezebels is assumed to shape their portrayals in pornography, deviance, instead, is highlighted in performances with Black talent. Locating Black women in hegemonic hierarchies reveals how their bodies are the most devalued in both character profiles -- often seen as sexually promiscuous and “ghetto” -- and labor treatment -- frequently facing disproportionate risks with low pay and production safety. It is common for professions to speak openly about Black women’s devaluement in the pornography industry business, such as when Mireille Miller-Young -- an associate professor of Feminist and Black studies -- encountered a director at pornography expo sharing that, “[B]lack chicks are fucking shanks (Taormino et al. 107).” To combat this, Black women have taken upon controlling their representations and performances in pornography by primarily accepting roles that positively portray them and by creating scripts and companies that create these opportunities. Though Black women often do not hold the same social and cultural capital as white talent and
Women of color have had to suffer through a copious number of years of being objectified sexually in media – magazines, music videos, movies, shows (Carolina). “Throughout history the media has played a large role in portraying women as unrealistically sexual, and the old excuse is, “SEX SELLS” (Yancey). Media companies have been profiting off of exploiting a woman’s body and have continued to use this as a business ordeal. Companies continue to use this tactic even though it has been proven that, over time, there was a decrease in profits and other advertising strategies. Although consumers have deferred from feeding into these companies, this tactic continued to be seen in our society today. The lack of diversified representation of women of color has made it harder for women to break through the gender roles and pursue their career of choice. Although women of color have began to be represented more, women of color continue to be underrepresented in many male- dominated jobs (Kerby). When media influencers did decide to incorporate women of color in their productions, they were forced to undergo racial and gender biases that reinscribed stereotypical understandings of woman of color. The representation of women of color in media also reflects the representation of women of color in many work
Stereotyping women has been a major concern with media critics as well as feminists. Women in television are stereotypes in several categories including but not limited to: women po...
Yet, we find that representation in media – specifically in women of color – is severely lacking. Out of the top 100 films of 2016, 47 films didn’t include any black women. We need to do better.
The importance of a variety of people represented in the media is essential for breaking down gender roles and previous stereotypes about females, especially women of colour, who make up 23% of female characters in movies and are often put into harmful stereotypes. Certainly, I will not be able to cover all of the stereotypes that exist in movies today, or their impact, however, I wanted to briefly discuss the problem.