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stereotypes in the film industry
race stereotypes in media
race stereotypes in media
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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.
In Shohat and Stam’s article, Unthinking Eurocentrism: Multiculturalism and the media (2013), they discuss the issue of racism within the media and entertainment industry, such as Hollywood films. More importantly, Shohat and Stam’s discuss the assertion of racial politics in casting within the Hollywood films industry. The interesting idea to their argument is that they suggest that for a film to become financially successful, the casting of the protagonist must consist of a white star as they are seen to be ethnically universal (Shohat & Stam, 190). They further suggest that the ethnic minority have been limited to designated roles which ultimately perpetuate their ethnic stereotype (Shohat & Stam, 190). They concern this issue by critically analysing and contrasting western Hollywood films against other ethnic films.
White Chicks follows the story of two African-American FBI agents, K...
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...ent from the silent era of film, overt racism of ethnic minorities was blatantly apparent within the film medium. However, presently this overt racism however has shifted into a more subtle segregation of casting and racial politics within the film medium. It seems that both the problem and the solution lies in the Eurocentric domination within the Hollywood film industry – and it seems that it still remains challenged to this day.
Works Cited
Bridges, George, and Rosalind Brunt.Silver linings some strategies for the eighties: contributions to the Communist University of London. London: Lawrence and Wishart, 1981. Print.
Shohat, Ella, and Robert Stam. Unthinking Eurocentrism: Multiculturalism and the media. Routledge, 2013.
White Chicks. Dir. Keenan Ivory Wayans. Perf. Marlon Wayans, Shawn Wayans, Busy Philipps. Columbia TriStar Home Entertainment, 2004. DVD.
Often racial injustice goes unnoticed. Television tries to influence the mind of their viewers that blacks and whites get along by putting them on the screen to act as if interracial relationships has been accepted or existent. “At the movies these days, questions about racial injustice have been amicably resolved (Harper,1995). Demott stresses that the entertainment industry put forth much effort to persuade their audience that African Americans and Caucasians are interacting and forming friendships with one another that is ideal enough for them to die for one another. In the text, Demott states “A moment later he charges the black with being a racist--with not liking whites as much as the white man likes blacks--and the two talk frankly about their racial prejudices. Near the end of the film, the men have grown so close that each volunteer to die for the other” (Harper,1995). Film after film exposes a deeper connection amongst different races. In the text, Demott states “Day after day the nation 's corporate ministries of culture churn out images of racial harmony” (Harper, 1995). Time and time again movies and television shows bring forth characters to prove to the world that racial injustice has passed on and justice is now received. Though on-screen moments are noticed by many people in the world it does not mean that a writer/ director has done their
The majority of today’s films starring Asian actors and actresses often contain numerous stereotypes. They cater to the biased views that most non-Asians have of Asian ethnicity and culture. What they do not know they make up for in ignorance and ridicule in one of today’s top forms of mass media. By using a widespread style of media in today’s pop culture, more and more people are being displayed the fabricated stereotypes of Asians.
"Race and Ethnicity in Entertainment." Issues & Controversies On File: n. pag. Issues & Controversies.
Andre, Judith. “Stereotypes: Conceptual and Normative Considerations.” Multicultural Film: An Anthology. Spring/Summer 2014. Eds. Kathryn Karrh Cashin and Lauren Martilli. Boston, MA: Pearson, 2013.
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
Public out cry about actors who portray other races has brought attention to the subject and has produced numerous arguments. These actors who portray themselves a different race is something that shouldn’t be viewed as a positive thing that we should continue to do. First of having an actor portray another race usually results in a more stereotypical role. This gives the public a bad image of different ethnicities, which may think that this is that ethnicities normal behavior. Similarly, having an actor portray another ethnicity takes a job away from someone from that race. Actors of other races are under represented in films. By not giving minorities opportunities they can’t prove that they are in fact good actors, limiting them in future roles. By allowing actors to portray a different race we are not respecting minorities as equals.
Woll, Allen L and Randall M Miller. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. n.d. Print.
In addition, due to negative feelings about Asian Americans prevalent in American culture, Hollywood’s attempt to expand its target audiences is constrained, and despite the increasing market values of Asian Americans, Hollywood is possibly unwilling to portray successful Asian characters for fear of provoking its mainstream audiences who hold prejudice against Asians. There is a dominant white preference over the effects certain stereotypes may have on Asians and Asian Americans (Park, 2005).
In conclusion, I have demonstrated how Neil Blomkamf, the film director, has skillfully used his imagination to scrutinize and portray the plights of modern society: xenophobia, racial injustice, and segregation, which have not yet been rooted out.
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...
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).
The Hurst book discusses in Chapter 8, that “whiteness is invisible to most whites,” this could be a reason that there is not a lot of diversity in Hollywood, but it could also be racism, and discrimination toward people of different ethnicities as well (Hurst, 183). According, to Hurst racism is “embedded in the structure and institutions, and defining racism individualistically rather than in structural terms, has allowed our attention to be defected from White privilege” (Hurst, 184). White privilege is present in Hollywood, everything is ran by white people, and it is the white writers and directors, they decided who they will cast in the show or movie. Racial and ethnic diversity in TV programming should not be a problem in the 21st century, this is a problem of the past and should not still be going on. The NPR article discusses the shift of more series with “non-white actors, and a more non-white cast, but that still is on 30% of all TV shows” that is a major improvement but there still needs to be more
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
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
The article, “White” by Richard Dyer explores both sides of the black and white paradigm in mainstream films –while addressing racial inequalities. Dyer talks about the “…property of whiteness to be everything and nothing [and that this] is the source of its representational power…the way whiteness disappears behind and is subsumed into other identities…”(Dyer 825). Also, according to Dyer “…stereotypes are seldom found in a pure form and this is part of the process by which they are naturalized…”(Dyer 826). Through the application of binarism to the film, The Green Mile, this essay will critically analyze the identities of black and white people. For instance, specific examples of the films mis-en-scene will serve as evidence to show the visible binarism and racial symbolism that exist in this