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Racism in media essays
Racism in media essays
Racism in media essays
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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.
I chose this video because it raised my awareness by questioning the difference between positive role models, such as The Cosby Show, and positive images for all African-Americans. The issues discussed and comments made by the cast piqued my interest and helped change my perspective on the history of African-American representation in the media, especially in the realm of television. Color Adjustment contains more than just endless ‘talking heads’ – it has elements of fact, history, and professional opinion all blended together in an engaging format. It was extremely exciting to hear the TV producers like Hal Kanter and David Wolper talk about their own productions in retrospect. Most importantly to me, Color Adjustment changed my perspective on African-American representation in the media by challenging me to think about images...
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...writers of all races and every ethnicity could be shown this video to learn about stereotypes to avoid in their screenplays. Television and movie producers could benefit from hearing other producers such as Hal Kanter and David Wolper talk about their experiences with African-American representation in their shows.
Viewing Color Adjustment was an informative pleasure. It was a stimulating video that led me on a personal journey of enlightenment. It chronicled African-American trials in television representation and provided me with the knowledge to examine future representations in the media more carefully. This video was a great addition to this class and to me as a person. I hope that there will be a Part 3 to this series that I can show in my own classrooms one day; I also hope with continuing education Parts 3 and 4 will have more "positive" images to discuss.
This documentary not only talks about a significant period in African American and American history; it also gives us a mo...
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.
Eye witness accounts of events are not always accurate. The accounts depicted by depend on how witnesses read the situation. The same is true when interpreting the depiction of race and/or ethnicity in media productions. Because situations gain meaning through the process of social construction (the interpretation of a situation based on one’s knowledge), the same event can be viewed and internalized by witnesses who render opposing viewpoints. This analysis will compare the depiction and rejection of socially constructed stereotypes relative to race and ethnicity in three situation comedies: All in the Family, The Jefferson’s and The Cosby Show.
Portrayal of African Americans on television is frequently a controversial topic. Throughout its rather brief history, television, in its programming, has skewed predominantly white, (Pringozy, 2007). This was clearer in the 1950s and early 1960s, and it even remained true throughout the 1970s, when television shows with mainly all African American casts became hits, (Strausbaugh, 2006). The success of The Cosby Show in the 1980s helped to improve race relations somewhat, or at least on television, (McNeil, 1996). Still, controversy continued, and still does to this day, as to which shows present negative stereotypes of African Americans and which ones do not, (Strausbaugh, 2006). Therefore, when talking about the history of African Americans on television, it is best to begin with the show that is widely considered to be the epitome of negative stereotypes of African Americans on television: The Amos and Andy Show, (McNeil, 1996). This paper will examine the portrayal of African Americans through two shows from two generations and the impacts both shows had on Black America; The Amos and Andy Show (1928) and The Cosby Show (1984).
Since its start, the television industry has been criticized for perpetuating myths and stereotypes about African-Americans through characterizations, story lines, and plots. The situation comedy has been the area that has seemed to draw the most criticism, analysis, and disapproval for stereotyping. From Sanford and Son and The Jefferson’s in the 1970s to The Cosby Show (1984) and The Fresh Prince of Bel-Air in the 1990s, sitcoms featuring black casts and characters have always been controversial. However, their significance upon our American culture cannot be disregarded. During the 1950s and 1960s, 97% of the families were Caucasian. In the first five years of the 1990s, nearly 14% of the television families were African-American (Bryant 2001). These statistics obviously show the substantial impact our American culture has had on African-American television families.
The roles African Americans play on television are not satisfactory. Though the roles have changed during the development of television, the current relationship is not representative of true African American people or their lifestyles. The question is how do the past roles African Americans play in television sitcoms compare to the current roles? How does this affect society’s perception of the African American in American culture? Throughout the history of television the roles and the representation of African Americans has developed with the changing cultural conditions. However, the representation of African American’s has not fully simulated into today’s society. What the average citizen views on his or her television does not accurately portray the African American’s influence on America.
Besides, in cultivation theory, George Gerbner proposes that heavy users of media treat the content of media as a primary source to perceive the world and assert what they see in media is very similar to the reality (Bryant, Thompson and Finklea, 2013), so there is a high possibility that audience will bring the perception of stereotyped portrayals of African-American from media into the real world. Based on the above unhealthy situations, this paper is going to illustrate how the racial stereotypes in media negatively affect people’s perception, attitude and behavior toward African American in the reality....
Burks 11 Shadress Burks 20 March 2014 The Cosby Show and its impact on the Black Community I. Introduction For years various images of African Americans and their way of life has been displayed throughout the many outlets of the media. From music to dance, art to acting, whether negative or positive, our way of life has been touched upon and broadcast across the world. Although, some stereotypical and some bearing absolute truth, it has helped shape the way other ethnicities view us. From the early days of black and white television to the current state, many series have come and gone, making impacts along the way.
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) Long before television and films were being produced, there were plays and different forms of entertainment where blacks were stereotyped. They were often played by white people in a demoralizing fashion. Over time blacks became seen as the same and that was bad people.
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.
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.
I gave several examples where Asian Americans were used to play very simple characters. These roles were defined by stereotypes that exist in America. I also researched instances on counter actions taken by Asian Americans to protest against these negative images. My research also has examples of Asians that have succeeded in breaking through the racial barriers in the media.
Although we have taken monumental strides in the past fifty years towards racial equality and diversity, it is still commonly argued that popular culture lacks some sort of racial representation. In the United States, the people who live here are vastly diverse when it comes to race and culture, yet in the media people of color get marginalized and stereotyped everyday in film, music, and etc.
International buyers looking to pick up American sitcoms strongly prefer “universal” to “ethnic” comedies; however, this just usually means white, middle-class, family-focused shows of the Home Improvement variety. Thus, in the international TV marketplace, a white, middle-class experience becomes universalized as something that will appeal to everyone. Steeped in this discourse of whiteness, distributors reflexively brand as “too ethnic” any shows that deviate from this norm, including especially sitcoms that incorporate such features as black slang, hip-hop culture, racial politics, and working-class settings. The breakthrough success of The Cosby Show pointed a way out of this particular cultural and commercial box. In exchange for white viewers inviting the Huxtables into their homes, the show’s producers would banish explicit references to the politics of race and keep the narratives focused on “universal” family themes. But, equally importantly, because white audiences have historically associated poverty with “blackness” and coded middle-class status as “white,” The Cosby Show placed these family-friendly stories in a context dripping with wealth and class privilege. The commercial fortunes of The Cosby Show have thus left an ambiguous legacy. To get on the air, in short, class must be dismissed. Thus, shows like The Fresh Prince of Bel Air, The Bernie