Analysis Of The Movie ' Training Day '

But the most shocking aspect of this whole situation came in the form of the African American performer Bert Williams who was degraded to play roles while in blackface that made a mockery of black people and essential of himself which probably was hard for him to act out. Fortunately the practice of performing blackface ended in the 1960s during the Civil Rights Act. But there are other stereotypes that have prevailed during the 20th century and I have two which are- the angry black women and black men always being thugs. For the first stereotype a particular movie comes into mind that portrays the angry black women perfectly and that is Madea’s Big Happy Family where there was a scene of a black women character that was yelling at her baby’s father about child support and was rolling her neck, chewing gum and speaking loudly. Looking back on the scene I realize now how stereotypical that scene was and that it further perpetuated a particular idea about how African American women behave or

All of this proves that Hollywood is not doing a good job in making up for the blatantly racist films of the twentieth century. Hollywood needs to do more to reverse the stereotypes of early film because such stereotypes are still seen today along with their respective repercussions.

Many people may not find anything positive about regular African Americans. “According to the FBI Uniform Crime Reports, in the year 2008 black youths, who make up 16% of the youth population accounted for 52% of juvenile violent crime arrests including 58.5% of youth arrest for homicide and 67% for robbery” (Wikipedia). Spike Lee films such as Malcom X and Get On The Bus depict black people coming together instead of tearing each other down and shed a more positive light on African American culture. There are many stereotypes on every ethnicity and culture, but African Americans in particular may have the worst rap sheet. Spike Less criticized the way African Americans are portrayed in films and television (Yale Bulletin & Calendar). Long before television and film took over as leading forms of entertainment, African Americans have been cast in roles that aided in the perpetuation of racialized stereotypes. During the latter half of the 1800s minstrel shows were a popular form of entertainment among white Americans. These shows portrayed both free and enslaved African Americans (who were mainly played by whites) in an extremely demoralizing fashion. The minstrel show is the birthplace of “Jim Crow”. Jim Crow is most popularly seen in the context of the Jim Crow laws, which enabled white Americans to legally separate themselves from African Americans in nearly every facet of life (Antiracist

Blackface performances were popular in American theaters for roughly 100 years, beginning around the 1830’s. In 1950’s blackface minstrel shows, white and black performers were not able to share the stage therefore they opted to paint their faces black with polish. These “black” characters were always portrayed as either villains or comedic. Blackface had been used to make arguments for slavery and why African Americans should not be given full human rights. These are narratives created by white men that were made to oppress and dehumanize an entire race of people. The minstrel show clip titled “Cotton and Chick Watts Blackface Minstrel Show Comedy” we are shown a very degrading performance put on by two white

In order to fully ascertain the gravity of negative archetypes, it is important to explore a common one. Donald Bogle is a film historian and lecturer at the Tisch School of the Arts at New York University. Bogle has authored a book entitled Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks, in which he outlines a few of cinemas most infamous black architypes. The one most salient this this essay is that of brutal black buck. Bogle divides the brutal black buck into two subcategories: “black bucks” and “black brutes.”

Different archetypes have been used to represent black people through television, live performances, and film. These stereotypes consisted of “Coon”, “Mulatto”, “Mammy”, and “Tom” (site—Johnson). Prior to films and television, African American’s were depicted by white actors wearing “blackface” in which white people entertained audiences through plots that portrayed African Americans in stereotypical ways that had prevailed since the time of slavery. “Coon” for instance, was created as a from of comedy and amusement for white individuals, as this image allowed for comic relief through idiocy. “Coons” had, in essence, a low level of intelligence with minimal common sense. Their dull-wittedness advocated the view that African American people were unintelligent beings who were incompetent and unable to formulate intelligible thoughts. This further reinforced the idea that African American people were in need of instruction and guidance from white individuals—just as they did during slavery—in order for African Americans to sustain and remain alive, or else they would be damaged by their own incapabilities. Similar to the “Coon”, Mammy was also a common character who was portrayed as an obese and grumpy woman who also provided comic relief to white folks. Mammy’s creation was

Often in many films that undermine African Americans, they are depicted as thief's, murders, or unintelligent. These images are used to show that African Americans are unlike their white counterparts. According to Friedman, "This formulation undermines the racially and sexually based violence toward African Americans, wiping out the memory of rape, castration, and lynching of slaves that occurred in the past" (Friedman). The development of African American films, or films that truly put African Americans in any type of positive light did not really start to occur until the 1970's or 1980's. Before then films were often negative in spirit. Paula Massood describes the Hollywood depictions of African Americans in the previous era as, "failing to recognize the sociopolitical changes in the American landscape. African American characters most often appeared within a southern setting, largely ignoring the black city space and culture that figured in the lives and the imaginations of a vast majority of African Americans" (Massood). However, in the following years the development and progression of African American films was able to be seen.

If a movie of this sort had such an emotional impact on me, it is no wonder people embraced these ideas back then. The use of new and popular media methods in those days was more than adequate in transferring the black inferiority ideas to the general public. Beginning at the early 19th century with the happy, dancing, toothless, drunken Negro with big, bold and white lips to the image of the mid 21st century African-American, the media has always used these images to convey inferiority. These images implied inherent traits in the black community. This whole community was represented in the new media as one who can not be collateralized and integrated in to society without being happily enslaved. Most of these images had great commercial values that made it all the more impossible for the rest of the nation not to embrace the African American stereotypes.

The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith

The movie Training Day has a lot of deviant behavior in it. In this movie it is difficult to determine who is and what is deviant. Deviant behavior is acceptable in certain situations. Even though, Alonzo and Jake are police officers they participated in deviant behavior. Jake and Alonzo partook in doing coke in the car while, parked in the middle of a busy intersection. They were also drinking while on the job. In any other profession or situation the police would have been called and they would have been arrested.

According to Tukachinsky, Mastro, and Yarchi, prior to 1930, the role of Blacks on screen were seen involving mostly in criminality and idleness (540). That role still persists until the present, with Blacks usually have to withstand to “longstanding and unfavorable media stereotypes including sexually provocative females and aggressive male thugs” (Tukachinsky 540). 1970’s movies such as The Mack, Black Caesar and Coffy have reinforced this stereotypic image of the black community. The

or Fredrick Douglass. It never once crossed my mind that a genre of theatre was indeed a major contributor to the prosperity of African Americans. Marvin McAllister wrote deeply about influences of Minstrels in his book: Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance. McAllister is now an African American studies Associate Professor at the University of South Carolina, a location which promotes his credibility in his first major assertion that whiteface minstrels arose in Charleston, South Carolina. In his first chapter, McAllister claims that during the colonial and antebellum periods, whiteface minstrel shows derived from the living conditions in South Carolina. In comparison to other the other cities at the time, Charleston was relatively lenient towards slaves. An example of this is how South Carolina’s dependency on skilled Africans made room for negotiations. What McAllister is trying to do is inform the readers about the origins of how minstrels arose, an appropriate move for the introduction. These conditions, argued McAllister, allowed slaves to negotiate living out, which allowed for black slaves to move away from the master’s plantation and this created Charleston’s first black neighborhood: the Neck. Although I agree with McAllister, I would like to add that living out was the first form of unification of African Americans and advancement of their rights. Moving away from slave owners and coming together was essentially how whiteface minstrels

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

New Year’s Day, 2009, a man is brutally shot by the BART Police of Oakland, California. Fruitvale Station, written and directed by Ryan Coogler, took audiences by surprise as it resonated with twenty-two year old Oscar Grant, a man who was shot down by the BART Police. This movie takes viewers on an emotional expedition as it takes a peek into the life and death of Oscar Grant and his family. The struggles of originating from an African-American background become apparent as Oscar Grant struggles with steering away from racial stereotypes and the misunderstandings of racial profiling.

There was a stereotyped image about colored people and this ideology was appeared in the movies at the 20 centuries. In the minstrel show, white actors colored their faces black to imitate African American people ("Separate Cinema: The Vintage Years," 2008).