This essay will be discussing the subject of race and how it has been used in the politics of visual culture. There are thousands of examples of: adverts, posters, articles and extracts that show how we have divided people based on the colour of their skin during history - an extract that stands out is a cover of “White Power” magazine from January 1972. The magazine was created by George Lincoln Rockwell, the first leader of the American Nazi Party. The title ‘White Power’ was used as a response to Rockwell hearing Stokely Carmichael (representing the Black Panther party) use the words ‘black power’ in a debate. The magazine was used as the American Nazi Party’s magazine to its followers. At the time of the publication of this extremely right-wing magazine, many left-wing movements were moving forward, and it is interesting to see such an extremist magazine exist. The first thing in the image that stands out is the title and the immediate noticeable Swastika in the middle of the two words ‘White Power’. The Swastika is a ancient spiritual symbol used in Buddhism, Hinduism and …show more content…
Then you’re a ‘Nazi!’”. It’s referring to those select right-wing white people that have supposedly ‘had enough’ of black people. The word Nazi is in apostrophes, it shows that the publishers are almost joking that people are referring to them as Nazis - this may not be the case. If it is, it’s quite hypocritical as they have used the Swastika symbol. Again, Sturken and Cartwright have said “When people think of ideologies, they often think in terms of propaganda - the crude process of using false representations to lure people into holding beliefs that may compromise their own interests.” This phrase on the cover is a very good example of this as it pushes their propaganda, almost brainwashing people into believing their right-wing views are correct and encouraging them to identify themselves as a
Over the past decades, Hollywood movies have brought out the representations of racial inequality through out various themes of racism and stereotypical ways. One frequent type of racial inequality is that there is a culture or race that is belittled, under-privilege and inferior while the other is superior and high in order. In “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, He identifies the term “magical negro” as: “a saintly African American character who acts as a mentor to a questing white hero, who seems to be disconnected from the community that he adores so much, and who often seems to have an uncanny ability to say and do exactly what needs to be said or done in order to keep the story chugging along in the hero’s favor” (408) and in Mitu Sengupta “ Race Relations Light Years from the Earth” the author examines the movie Avatar as a racist film, and focuses on how it resembles the “white messiah” stereotype. The term “white messiah” is known as a white individual who hold superior power, according to David Brooks of the New York Times, “a stereotype that white people are rationalistic and technocratic while colonial victims are spiritual and athletic, and that nonwhites need the White Messiah to lead their crusades” (Sengupta 213). Both articles dwell and explain the two terms and how it portrays the themes of racism and stereotypes through two elements, known as author’s purpose and main idea. These elements effectively convey the theme because it prevents our thoughts from being scattered by a broad spectrum of ideas and instead, it tells you exactly what is going to be discussed throughout the article.
Over past decades, Hollywood movies have brought out the representations of racial inequality through out various themes of racism and stereotypical ways. One frequent type of racial inequality is that there is a culture or race that is belittled, under-privilege and inferior while the other is superior and high in order. In “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, He identifies the term “magical negro” as: “a saintly African American character who acts as a mentor to a questing white hero, who seems to be disconnected from the community that he adores so much, and who often seems to have an uncanny ability to say and do exactly what needs to be said or done in order to keep the story chugging along in the hero’s favor” (408) and in Mitu Sengupta “ Race Relations Light Years from the Earth” the author examines the movie Avatar as a racist film, and focuses on how it resembles the “white messiah” stereotype. The term “white messiah” is known as a white individual who hold superior power, according to David Brooks of the New York Times, “a stereotype that white people are rationalistic and technocratic while colonial victims are spiritual and athletic, and that nonwhites need the White Messiah to lead their crusades” (Sengupta 213). Both articles dwell and explain the two terms and how it portrays the themes of racism and stereotypes through two elements, known as author’s purpose and main idea. These elements effectively convey the theme because it prevents our thoughts from being scattered by a broad spectrum of ideas and instead, it tells you exactly what is going to be discussed throughout the article.
In Jonathan Markovitz’s Racial Spectacles: Explorations in Media, Race, and Justice he defines and argues the existence of racial spectacled in our society today. Through the reading and the general understanding of racial spectacle, I define it as the events that take place in massive media that virtually touches every realm of communication and popular culture in society. Interpretations may vary based on the event. The concept of racial spectacle is related to how Michael Omi and Howard Winant define racial project in their article Racial Formation. From my understanding of the reading, a racial project is a task, action, or law that is set in place in order to shorten or widen the racial divide in society. Racial projects are both positive and negative and in
This week’s readings of the reviews of Spike Lee’s ‘Do the Right Thing’ and Marilyn Fabe’s “Political Cinema: Spike Lee’s ‘Do the Right Thing’, raised a number of questions regarding not only the moral issues the film addresses but also the intention of the artist. This dialectical opposition, which Pamela Reynolds suggests “challenges the audience to choose” (Reynolds, p.138) between the narrativized hostility shown between that of the hero and villain. More specifically Lee’s portrayal of violence vs passive opposition. This can be perceived through Lee’s technical employment of contradictory quotes from Martin Luther King, Jr and Malcom X at the conclusion of the film, which not only highlights this concern but also deluges further into themes of political opposition. Marylin Fabe discusses this where she states that Spike Lee’s film carries a “disturbing political message” (Fabe, p.191). Arguably, ‘Do the Right Thing’ acmes themes of racism (Black vs White); with underlining motifs of imperialism (colonisers’ vs colonised), psychoanalytic (power vs powerlessness) and even Marxist theory (ownership vs public space/consumption), with Clarence Page stating that Lee provides a “public service… (not trying) to provide all the answers, but raising the questions.” (Reid, P.144). In saying this we explore this concept of the role of the artist, with Georgopulos stating that the role of the artist is to create a consciousness within the audience by revealing a fraught set of truths about the human condition. Thusly, the reactions and responses to the films reveal Lee to be successful in conveying his intentions, which back in its zenith, explored this issue of racism in a way that had rarely been seen, and presented the ways in which t...
According to “The White Racial Frame”, the author Joe R. Feagin states that to “framing” is “the idea of a perspectival frame that gets imbedded in individual minds (brains) as well as in collective memories and histories, and helps people make sense out of everyday situations.” (Feagin). Feagin discusses upon how most of whites believe they are greater to those of color. El Teatro Campesino serves as a great way to break down the rationalizations of the white supremacy by demonstrating how Chican@s and Latin@s rose up as a community.
The article, “I Don’t See Race; I Only See Grayish-Brown, Vaguely Humanoid Shapes,” mocks individuals who make explicit claims about how they are not racist. This article is an oped piece in which a fictional writer starts off by denying the existence of racial tensions and institutional racism within America. She supports this by claiming that it is impossible for the mindset of a modern American to adopt racist ideologies because it is impossible for one to view humans as anything more than, ”muted, roughly person-shaped silhouettes”. The op-ed then degenerates into a metaphysical questioning of the nature of human beings and her lack of ability to even perceive basic human attributes. The fault portrayed in the writer is that as she attempts to depict her own lack of racial bias, she denies the existence of racial diversity itself. Her line of reasoning is mocked as she extends it to a broader and broader scope until she claims that human life is an insignificant and mundane product of our universe. Her ideologies are never once directly criticized, only mocked through her flawed reasoning. In addition, the character of the writer herself is not the object or criticism, rather the ideology she presents is the object of criticism. This article is a prime example of modern literature utilizing satirical elements and does not deviate in any major from the original elements of Horatian
The people of the black culture need a motivating force behind their community. They need a black aesthetic to motivate them and incline them to support the revolution. The black aesthetic itself will not be enough to motivate the people; they will need black art to help them understand what they are supporting. The art in the black culture needs an aesthetic to get the message across to its viewers and allow them to understand the meaning behind pieces of artwork. One of Ron Karenga’s points is how people need to respond positively to the artwork because it then shows that the artist got the main idea to the audience and helps to motivate them to support the revolution. In “Black Cultural Nationalism”, the author, Ron Karenga, argues that
Since 1945, in what is defined by literary scholars as the Contemporary Period, it appears that the "refracted public image"(xx) whites hold of blacks continues to necessitate ...
“…it is said that there are inevitable associations of white with light and therefore safety, and black with dark and therefore danger…’(hooks 49). This is a quote from an article called ‘Representing Whiteness in the Black Imagination’ written by bell hooks an outstanding black female author. Racism has been a big issue ever since slavery and this paper will examine this article in particular to argue that whiteness has become a symbol of terror of the black imagination. To begin this essay I will summarize the article ‘Representing Whiteness in the Black Imagination’ and discuss the main argument of the article. Furthermore we will also look at how bell hooks uses intersectionality in her work. Intersectionality is looking at one topic and
Wolfskill, Phoebe. "Caricature and the New Negro in the Work of Archibald Motley Jr. and Palmer Hayden." Art Bulletin 91.3 (2009): 343-365. Academic Search Complete. EBSCO. Web. 31 May 2010.
Detrimental stereotypes of minorities affect everyone today as they did during the antebellum period. Walker’s subject matter reminds people of this, as does her symbolic use of stark black and white. Her work shocks. It disgusts. The important part is: her work elicits a reaction from the viewer; it reminds them of a dark time in history and represents that time in the most fantastically nightmarish way possible. In her own words, Walker has said, “I didn’t want a completely passive viewer, I wanted to make work where the viewer wouldn’t walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful”. Certainly, her usage of controversial cultural signifiers serve not only to remind the viewer of the way blacks were viewed, but that they were cast in that image by people like the viewer. Thus, the viewer is implicated in the injustices within her work. In a way, the scenes she creates are a subversive display of the slim power of slave over owner, of woman over man, of viewed over
In the book, “Citizen - An American Lyric” by Claudia Rankine wrote about racial prejudice that the black body has been facing due to stereotyping. In the book, Rankine said the blacks are being judged by the color of their skin and not viewed as equal to their white counterpart. Rankine then backed up her claims by using descriptive imagery to create pictures in our mind as well as evoking feelings by citing various incidents to illustrate how black persons are still being discriminated against and wrongly perceived in the society we’re living in today. The purpose of Rankine’s use of her descriptive imagery is an attempt to capitalize on all of a reader 's senses and build them into something vivid and real in the reader 's mind that some
In African American Studies/Literature I walked in thinking that I could be told nothing about African American culture or history because I’m African American. In some ways I knew that racism existed but I learned how it has been subtle in control the way we think. We have learned that colonization has not ended and that in many ways we are still being oppressed. In this paper I’m going to show how African American has used hip hop and black hair are two ways in which African Americans embrace their culture and fighting oppression. However, as we have review in many classes oppression is not easily escaped. So in this paper I’m going to show how cultural appropriation is used as a way of oppressing black culture. So this paper will be an expansion of what we have learned in the
The image on the left is of the Virginia Serenaders, which were a group of white actors that took on the guise of African American individuals. These actors were quite famous amongst the public. The poster allows the viewer to see the transformation from a white man to an African American man, highlighting the profound effect of “black face”. Moreover, it reinforced how society viewed African Americans, since there is a major contrast between the stature of the white men and their black face characters. The white actors appear to be sophisticated and well-kept, while their black counterparts appear to be loud and rambunctious.
Essay 1: WRITE A COHERENT ESSAY IN WHICH YOU ATTEMPT TO EXPLAIN THE USE OF BLACK ICONIC IMAGES (AND OTHER ETHNIC IMAGES) TO SELL PRODUCTS AS THE ECONOMY OF MASS CONSUMPTION EXPANDED IN THE LATE 19TH AND EARLY 20TH CENTURY. YOU ARE ENCOURAGED TO INCLUDE IMAGES IN YOUR PAPER! During the 19th and 20th century, America –mostly white collar, middle class Americans- saw a great increase in salaries and a huge rise in mass production which paved the way for the modern American consumerism which we know today. The advertising scene saw a dramatic boost during that period and tried to latch on to this growing pool of emerging consumers. Although only limited to print, advertising during this pivotal period showed panache and reflected American society and popular culture.