African Male Humanity And Authenticity Is Disoriented By Using A Lesson Plan

Movies and entertainment outlets speak volumes about the current state of a nation’s culture. Cinematic creations in the United States allow small voices to be heard and controversial issues to be addressed. However, a repetitive and monumental issue continues to be addressed, yet continues to persist in our 21st century culture, racial inequalities. Since the inception of the United States, black men and women alike have been disenfranchised at the hands of the “white man” in America. Instead of continuing the conversation today, the issue is continually silenced referencing the successes and achievements of the Civil Rights Movement in the 20th century. Nonetheless, an unfortunate reality looms upon this great land; racially based systems and structures continue to exist in 2015 the in United States. This paper synthesizes three films focused on racial inequalities in different time periods. Separate but Equal (1991), Selma (2015), and Crash (2005) illustrate how influential the Civil War amendments are, while serving as an uncanny reminder of how the racial prejudices during the 20th century continue to exist in our great nation today. Needless to say our nation has made great strides, but still has a long way to go.

Throughout the matriculation of a black boy 's’ life, there are many, (labeled natural, yet are culturally, socially and institutionally based) factors, that govern the holistic views and beliefs entailed to the child. From that moment on, challenging the social structures that these norms entail suggest a sense of sensitivity, homosexuality or weakness, ultimately emasculating the highly regarded social stigmas attached with being a man. Despite being indoctrinated into the minds of black boys from an early age, there are many long lasting effects of masculinity that are in turn reciprocated in the role of black fathers, husbands, brothers and friends. Black masculinity is the self-deteriorating idealisms that attack the identity and social positions black men ascribe to.

However, the most typical type of portrayal that can be seen in modern television is the one that includes black actors to portray black characters without prejudices or ideas about their “otherness.” As suggested in the study by Parks and Kumar (2003), it is normal for the modern television to contain images of black bodies in the same contexts as the white ones (p. 423). Instead of pointing to his blackness, the authors of the Criminal Minds have included Derek Morgan as an ordinary character into the team of behavioral profilers who do the same job. The only distinction of Derek Morgan from other members of the team is his ethnicity. Therefore, this type of stereotyping should be discussed along with the other efforts of the TV series creators to include a black role model, a “good guy” into the

Over the years, our generations’ stereotypical views over the issue on young black males being viewed as dangerous has grown significantly. There are different reasons why these stereotypes occur in our society. People feel on edge when running into them in dark passageways, whenever it’s late at night. Also, while they’re sitting at red lights and notice someone walking towards their cars, they instantly initiate down the door locks. People think stereotyping black men this way keeps them safer because they assume the worst. However; other people disagree with instantly judging who they see around them, it hurts more people as well as themselves by viewing black men this way. Brent Staples, the author of “Black Men and Public Spaces,” claims that he’s considered a stereotypical black criminal. In his essay, Staples succeeds because he successfully appeals to people’s emotions, is an expert on human behavior, creates common ground and offers a logical solution.

No matter what, we are almost always talking about violence masculinity in America. Whether we are talking about the horrifying, high-profile mass shooting we have seen over recent decades, the far greater rates of murder and gun violence we see on a day – to – day basis that barely register in the national news, or the epidemic of sexual violence and domestic violence, the vast majority of this violence is committed by men, young men, and boys (Jackson Katz, 2013). Throughout this essay the topics covered will be how culture defines masculinity, according to the film, violent masculinity as a cultural norm, agents of socialization that teach boys how to be men, the cool

Matthew Jones declares that black masculinity is defined in three overarching categories: perception, expectation, and representation (Jones). The stories, Fences, by August Wilson and A Lesson Before Dying, by Ernest Gains, the main characters are forced to live with many hardships. Yet only a few of them can declare value of their lives, and redeem themselves, despite these hardships. The stories both of the main characters are unhappy angry men the only difference is that one of the characters progressed while the other stays the same. This paper will compare and contrast them both.

While the 1970’s and 80’s marked a decline in movies featuring black actors and a lack of black directors, the mid 1980’s through the 1990’s invited a new generation of filmmakers and rappers, engaging with the “New Jack” image, transforming the Ghettos of yesteryears into the hood of today. A major director that emerged during this time was Spike Lee. According to Paula Massood’s book titled, Black City Cinema, African American Urban Experiences in Film, “…Lee not only transformed African American city spaces and black filmmaking practices, he also changed American filmmaking as a whole.” Lee is perhaps one of the most influential film makers of the time, likely of all time. He thrusted black Brooklyn into light, shifting away from the popularity of Harlem. By putting complex characters into an urban space that is not only defined by poverty, drugs, and crime, it suggests the community is more than the black city it once was, it is instead a complex cityscape. Despite them being addressed to an African American audience, Lee’s film attract a mixed audience. Spike lee’s Do the Right Thing painted a different image of the African American community, “The construction of the African American city as community differs from more mainstream examples of the represents black city spaces from the rime period, such as Colors…, which presented its African American and Mexican American communities through the eyes of white LAPD officers.”

In the 1960s, Black masculinity was reshaped by the newly acquired political power of the Civil Rights era. Notions of the ‘good negro’ (or obedient/deferential negro) were purposefully destroyed and replaced with a more defiant/revolutionary representation. The 1960s-70s played a pivotal role in the creation of this aggressive male identity. Specifically, the combination of the media’s portrayal of the antagonistic Black Power Movement, and record crime rates in African American neighborhoods, created feared images of African American men (Milton).”

By presenting the edgy misogynist as the personification of black masculinity, the media sends out two messages. First, impressionable black adolescents, many of whom are surrounded by the violence and abuse glorified by

In the television show The First 48, which is promoted as being an authentic form of reality television, the depiction of blacks as criminals is evident. In most cases, it is a black person who is suspected, accused and arrested for a crime; although, one might argue the show does its job to follow along with the calls received and crimes reported, the overrepresentation of blacks relative to the population numbers is evident. Ardis C. Martin, in an Academic Psychiatry Journal, writes, “People develop conceptions about the world as a result of repeated exposure to consistent and repetitive images in the media.” In watching The First 48, it is no surprise why a white consumer would come to the realization that all blacks are deviant criminals, while a black consumer would be susceptible to being a criminal because of a media that has already defined him or her by the color of his or her skin.

The way entertainment in the media portrays us has greatly affected how others identify us. Movies and shows like; Madea’s family Reunion, Bringing down the House, Love and Hip Hop, and Basketball Wives all portray us in a degrading way. People sometimes find it comical of course, but the fact that it is comical does not justify it being debasing. This image of us has evolved from things in the media, and its’ power to shape people’s idea of us. We as a race must stop living up to our stereotypes. As soon as we take action in not succumbing to our own stereotype, people will not think we are “Ghetto” or any other undignified term they think of us; therefore in the media we won’t be perceived in that way. As Colin Powell once said, “Fit no stereotypes. Don't chase the latest management fads. The situation dictates which approach best accomplishes the team's mission.” Although African American stereotyping is prevalent in the media now because of its’ entertaining quality; it perpetuates a cycle of harmful stereotypes. As long as this cycle continues, our culture will always be illustrated negatively.

The article that I will be examines is “Booty call sex, violence, and images of black masculinity” by Patricia Hill Collins. The author has examined the black experience and how the media misrepresents black men; these effects are still felt in the present. Collins was using different forms of media such as sport, film, and historic events. To help the readers to learn where hyper sexuality, violet, and criminal stereotypes of black male come from.

In his one of the most known articles, “Just Walk on By,” Brent Staples tries to touch readers’ hearts with his emotional words and an optimistic character. He points out an important yet normally disregarded issue of our society. He shows how a black man’s character is viewed in the society; they are mostly seen as thieves, robbers, rapists, muggers and as many other criminal personalities. However, Staples believes he is not one of those and supposes that all black men are not similar to how they are usually judged. Thus, Staples uses emotional appeal and his polite character as a way to gather audience’s sympathy towards black men.

It doesn’t take long to figure out that race and ethnicity issues continue to affect America - a quick glance at the news will show the latest riot, hate crime, or police brutality incident. This centuries old struggle has given rise to a number of literary works on the topic, many of which take a different approach to the issue. W.E.B. Du Bois, for instance, published the work The Souls of Black Folk in 1903, arguing for blacks’ right to equality in a horrifically segregated society. In these essays, Du Bois coined the term “double-consciousness,” wherein those with black skin must view the world both from their own perspective, and from the perspective of the predominately white society. The short story Recitatif by Toni Morrison explores this concept through the removal of the characters’ races, and the film Do the Right Thing, directed by Spike Lee, tells a story to demonstrate it. While the former shows double-consciousness through the usage of ambiguity, the latter almost directly references the concept. Taken together, these two sources argue a multi-faceted version double-consciousness, wherein society alienates the characters in ways that go beyond just the color of one’s skin.

Quentin Tarantino’s film Jackie Brown, released in 1997, challenges the pervasive stereotyping of not only blacks but specifically black women. Nowhere is the cinematic devaluation of African Americans more evident than in images of black women which, in the history of cinematography, the white ideal for female beauty has overlooked. The portrayal of black women as the racial Extra has been fabricated through many semblances in the history of American film. Film scholars and feminists alike have long been plagued with lament for the negativity and stereotyping that sticks with black women in American cinema. In this paper, I will argue that Jackie Brown highlights and stresses the racial variance of the female African American protagonist,