Black Press : Soldiers Without Swords

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.

America memories about the blacks were segregation, lynching, and humiliation. Those facts were even described in poems which reflected black American’s childhood and how much they had to get used to being called “nigger” and “darky” . Blacks did not use their pens to protect themselves as whites did; they remained silent instead. It was until the 1930s when blacks took off the masks and started to speak for themselves and that they want to be seen and treated

The final film by Marlon Riggs, Black is…Black Ain't, is concerned with the state of the African American community. This film essentially asks the question, what does it mean to be black? The director and producer, Marlon Riggs, guides viewers along an “an up-front examination of racism, sexism, and homophobia within the black community itself. Bringing together personal stories, interviews, music, history, and performance, Black Is...Black Ain’t asks African Americans: What is black, black enough, or too black?”1

One aspect of life for black people in the United States of America that has always remained consistent is white racial hostility. A history of slavery, segregation, unequal protection of the law, and second class citizenship inflicted by a white power structure that dominates on a national level has created a harmful reality for black people. Every aspect of black public life must either be under the control of or in opposition to white supremacy. Every state-sanctioned institution works to use black bodies as tools for the production of capital in any form, yet simultaneously exploits and maltreats black people so that they cannot fully participate in and benefit from the systems which they are indoctrinated to invest in. White America leverages its money, comfort, and tyranny on Black America. It is for this reason that separate spaces are not merely essential to the viability of black counter-publics but inherent to their existence, since black involvement in white spaces and systems typically leads to black assimilation or marginalization. Within these black counter-publics, hip hop and mass connection through new media forms direct attention and allow for personal expression which shapes black worldview and public opinion, but this simply makes black people more comfortable with their oppression and less involved in politics.

The theme I would like to analyze after watching this film would be the inequitable situation the black Americans were put in during that time period. As the slaves freed the civil war and also as the government implemented the emancipation,

“I turn on the news each night and what do I see again and again? African Americans alleged to be killing, raping, mugging, stabbing, gangbanging, looting, rioting, selling drugs, pimping, ho-ing, having to many babies, dropping babies from tenement windows, fatherless, penniless, and Godless” (Moore 59). The media has devoted too much time and space perpetuating these negative views of African Americans and far too little time describing the background problems of African-American communities. “What is not a crisis is not usually reported and what is not or cannot be made visual is often not televised” (Racist America 154). The news media respond quickly and with keen interest to the conflicts and controversies of racial stories. For the most part, “they disregard the problems that seep beneath the surface until they erupt in the hot steam that is the live news story, ‘The suspect is a black male’ we’ve all seen it” (Racist America 154). The media has not studied important events in the African-American community today. Issues such as urbanization, education, and poverty, just to name a few that have and will continue to have a

This theme helps illuminate how black people came to be treated in America both when slavery existed and beyond into today’s society. The theme that black people are disposable bodies within American society. Because of the tradition of treating black people as objects or whose value strictly came from their ability to make profit, the idea of what it means to be black in America is imbedded in the danger of losing one’s body. Although slavery has ended, the racism remains as a violence inflicted on black people’s bodies. Coates is more than happy to emphasize that racism is an instinctive practice.

The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun.

Racism and discrimination continue to be a prevalent problem in American society. Although minorities have made significant strides toward autonomy and equality, the images in media, specifically television, continue to misrepresent and manipulate the public opinion of blacks. It is no longer a blatant practice upheld by the law and celebrated with hangings and beatings, but instead it is a subtle practice that is perceived in the entertainment and media industries. Whether it’s appearing in disparaging roles or being negatively portrayed in newscasts, blacks continue to be the victims of an industry that relies on old ideas to appeal to the majority. The viscous cycle that is the unconscious racism of the media continues to not only be

The author admits, “although dissimilar and remote from each other in time, comparing the two offices might be instructive” (Cripps 116). By comparing the goals of the two bureaus to make it more understandable, why the original bureau ultimately failed. White’s bureau wanted to eliminate the stereotypes of Africans Americans in film; and the current NAACP simply wanted to enhance the reward for minority actors and producers. When describing White’s NAACP, Cripps says it is “an alien force from the East” while the current NAACP “seems more like an alliance of the black elements” (116). The author mentions how both bureaus’ continuing endeavors affected film, television, and equal opportunity for minorities. However, although both organizations share the same common goal, “their tactics differed because their assaults started from different trenches” (Cripps 116). Since the two bureaus differed in such ways, the author presented the progression of the 1946 bureau, up until its loss of morale in and the formation of the current bureau. By creating a chronological timeline, the writing appears well organized and thought out by the

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

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

Gil Scott-Heron presents many references to the superficial media and policies that were at the time ignorant of the struggle of African American integration. His spoken word poetry describes these outlets of references before repeating the phrase “The Revolution Will Not Be Televised…” to strengthen the claim that the consumer media is superficially choosing to pretend that all was well when in fact a revolution was happening at their doorstep. A selection of references will be analyzed from

Often, when one paper closed down, another immediately arose to take its place. Although newspapers were financially and at times physically risky ventures, Black editors were dedicated to disseminating a variety of ways in which free Blacks could argue against slavery and racism. The editors and their leadership were, for the most part, Christian, and exhorted Blacks to live in unison with Christian moral teachings and the mainstream values of the day. The main readers of Black Press were children and adults with educational opportunities and middle-class women and men who read content that served their communities road to excellence; Free Black communities were the main audience for Black press. Black press was determined to showcase Blacks who were providing children and adults with educational opportunities, announcing society events planned by middle-class working men and women, and instructing readers to maintain good manners and temperance when dealing with racial injustice. This content served at least two purposes. It provided a picture of Black communities that were building their own institutions and Black life and livelihood for White readers who might take a glimpse at a Black paper to gain more insight on the Negro.

[1] Before I start this essay, I feel the need to remind the reader that I find slavery in all its forms to be an oppressive and terrible institution, and I firmly believe that for centuries (including this one) bigotry is one of the most terrible stains on our civilization. The views I intend to express in the following essay are in no way meant to condone the practices of slavery or racism; they are meant only to evaluate and interpret the construction of slavery in film.