Django Unchained Gender

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.

Within this quote there are multiple metaphors that help bolden King’s thoughts: “crippled by the manacles of segregation and the chains of discrimination,” “island of poverty,” and “vast ocean of material prosperity.” These metaphors explain how it still felt nearly impossible to end discrimination, and how Negroes are on their own with no support. The use of the metaphors display a deeper and stronger meaning to the topics that King was passionate about. These rhetorical devices brought to the non-colored portion of the audience’s attention of how difficult the life of a Negro was and that freeing the slaves one hundred years ago was not enough.

Phillips writes that the defining characteristic of a ‘Southerner’ is a feeling of white racial solidarity which casts all other social considerations in the shade; it is the “cardinal test of a Southerner.” When Phillips touches upon the subject of non-slaveholding whites, he emphasizes their zeal for the primacy of white civilization as an end unto itself. He relates two contemporary accounts of non-slaveholders, one a tinner and the other an overseer, to demonstrate this fervor but pointedly devalues their economic attachments to slavery, writing, “Both of them, and a million of their non-slaveholding like, had a still stronger social prompting: the white men’s ways must prevail; the Negroes must be kept innocuous.” Phillips rejects out of hand the sway of overt pecuniary motives against the weight of racial ones and this rejection is so absolute in part because “it is otherwise impossible to account

Based on historical events, Charles Chestnutt’s The Marrow of Tradition, gives human details to produce a vivid picture of life in the south after the failure of reconstruction. His work has many underlying themes among which are the use of the press to stir already volatile emotions through propaganda, class structure not only along color lines but within races, and the effects of the white supremacists’ agenda on the integrity of those who claimed to be morally advanced. Through this story, Chesnutt allows the reader to enter the minds of the characters to show how change will not take place until both whites and blacks detach themselves from traditions that seem to be engraved on their

Though slavery is taught throughout ones education, the severeness of it isn’t usually explained how the documentary Africans in America: The Terrible Transformation explains it. Throughout school, students typically don’t examine how the racial prejudice that was associated with slavery was horrific in so many different ways. This documentary allows viewers to be

Disney has faced a large amount of criticism from critics over the tropes and stereotypes that it portrays in its animated films. This is not a recent event however. One of Disney’s most notorious and controversial films, Song of The South, was released in 1946. Song of the South, set during the Reconstruction Era, focuses on a young boy named Johnny who learns that his parents will being living apart for an unknown amount of time, moves to a plantation in Georgia, while his father continues to live in Atlanta. Depressed and confused over the recent events Johnny decides to run away to Atlanta, but is drawn to the voices of Uncle Remus, an ex-slave living on the plantation, telling stories of Br’er Rabbit. Although it is implied that the African American workers are no longer Johnny’s family property, the black characters are still wholly subservient and are happy to be so. James Baskett plays Uncle Remus as a blissfully, happy companion ready to please. Due to this “magical negro” trope, the characters’ ridiculously stereotypical voices, and the unrealistic happy and joyful relationship between the white landowners and their black help, Song of The South, is one of Disney’s most offensive, racist, and fictitious film. Disney’s portrayal of Uncle Remus is his veiled justification of the mistreatment that minorities received before and after the Reconstruction Era.

The film reminds us that “slavery and its aftermath involved the emasculation-physical as well as psychological - of black men, the drive for black power was usually taken to mean a call for black male power, despite the needs of (and often with the complicity of) black women. That continues to result in the devaluing of black female contributions to the liberation struggle and in the subordination of black women in general.”4

In 1928 Ulrich B. Phillips wrote an argumentative essay about the reasons for the massive support that slavery received from both slaveowners and Southerners who didn’t possess slaves. The essay was well-received and supported by critics in the 1930-s. However, closer to 1950-s critics started doubting the objectivity of Phillip’s writing. It’s important to note that Ulrich B. Phillips is a white historian from the South, writing from a perspective of a white Southerner. When he was writing his article he failed to step back from his bias and provide fully objective support for the main theme of his argument, setting a doubt to the reliability of his work.

The Film I Am Not Your Negro is a 2016 Documentary that depicts the key events of the 20th Century African American History. This documentary was inspired by James Baldwin’s thirty-page unfinished manuscript. The manuscript was going to be his next project in which he called Remember This House. The manuscript was to be a personal explanation of the lives and successive assassinations of three of his close friends, Medgar Evers, Malcolm X and Martin Luther King, Jr. Unfortunately, in 1987 James Baldwin passed away leaving the unfinished manuscript to be forgotten, well that is what some thought. Now master filmmaker Raoul Peck envisions the manuscript James Baldwin never finished. The outcome is a fundamental examination of race in America, using Baldwin's original thoughts and materials to make the project possible. I Am Not Your Negro is a journey into black history that connects the past of the Civil Rights movement to the present of Black Lives Matter. It is a film that questions black representation in Hollywood and beyond. And, ultimately, by confronting the deeper connections between the lives and assassination of these three leaders, Baldwin and Peck have produced a work that challenges the very definition of what America stands for. Though this is the main thought of the documentary there are many key features that make this film much so about whiteness in American History and now.

T.H. Breen's and Stephen Innes’s book "Myne Owne Ground" does and outstanding job of pointing out the difference in perspectives when it came to living in the south and being black was like. It goes in depth and shows how a black person was competent and was capable to acquire a wealth that was comparable to a wealthy white man, but it is never recognized by the general white population. The authors make an argument that in early colonial Virginia blacks that owned property were able to live semi-normal, if not prosperous, racism free lives. Breen and Innes argue that before the Virginia slave codes were passed, property owning blacks had a chance to be viewed as

In the book titled The Slave Community: Plantation Life in the Antebellum South, author John Blassingame’s theme, focused on the history of African slave experience throughout the American South. After much research, the author said in the preface that most historians focused more on the planter instead of the slave. He also pointed out that most of the research on slaves by previous historians was based on stereotypes, and do not tell the real history of slave life and a slave’s inner self. Most of these historians, who focused on antebellum southern history, left out the African-American slave experience on purpose. Through much gathering of research, Blassingame hoped to correct this injustice to the history of African-American slaves, and show how slavery affected slaves, but also American life, culture, and thought.

Slavery is a contradictory subject in American history because “one hears…of the staid and gentle patriarchy, the wide and sleepy plantations with lord and retainers, ease and happiness; [while] on the other hand on hears of barbarous cruelty and unbridles power and wide oppression of men” (Dubois 2). Dubois’s The Negro in the United States is an autoethnographic text which is a representation “that the so-defined others

[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.

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,

Prior to the publication of any slave narrative, African Americans had been represented by early historians’ interpretations of their race, culture, and situation along with contemporary authors’ fictionalized depictions. Their persona was often “characterized as infantile, incompetent, and...incapable of achievement” (Hunter-Willis 11) while the actions of slaveholders were justified with the arguments that slavery would maintain a cheap labor force and a guarantee that their suffering did not differ to the toils of the rest of the “struggling world” (Hunter-Willis 12). The emergence of the slave narratives created a new voice that discredited all former allegations of inferiority and produced a new perception of resilience and ingenuity.