Ethnic Notions: Film Analysis

The second mythology placed on black women was that of Mammy. ”Mammy was the woman who could do anything, and do it better than anyone else.” (White, 47) Mammy was basically the super nanny of the plantation who lived in the house, she would oversee the kitchen, manage the household and at sometimes raised the white children. Mammy was also so respected that she often served as friend and advisor to the master and mistress. (White, 48) Mammy was often called around the clock to and was expected to be available for assistances and nursing at anytime. From the chapter it could even be concluded that Mammy was asexual, maternal, and virtuous with nonexistent sexuality, the complete opposite of Jezebel. The Mammy mythology is as misleading as the Jezebel image. The image

Minstrel performers where as the film described, a group of white Caucasians that would perform with black face paint and mock African Americans. This form of entertainment grew popular and provided one of the strongest depiction of the Sambo. Right next to the Sambo was the Zip Coon, a dandy, and a buffoon, a Zip Coon would attempt to imitate whites. But with poor grammar and with little to no intelligents the Zip Coon's attempts proved to be a nothing more then a racist mockery. Therefor creating a generalization of Stupidity with in the African American population and creating a notion of Racial inequality. Also with the Sambo and Zip Coon was the Mammy. The mammy is described and viewed as a jolly, obese, African American women, the strongest Mammy depiction was first evident in the film Judge Priest in 1934. The Uncle figure was depicted in similar nature as the Mammy but in male form and a depiction called the Pickaninny provided a generalization of silly and worthless African American Child.

The black men throughout history has always had a negative perceived image of them by those in power. The idea that one’s skin give others pre-deceived notions about them. Stereotypes of black people only illustrates them as negative things in a society. The strong perpetuated stereotypes of black people create a fear based off their image. Staples states his experience “She cast back a worried glance. To her,

All African-Americans have been portrayed in stereotypical roles since their arrival into American society for the entertainment and amusement of others. Many people find it difficult to appreciate the diversity of the African American women. So instead of trying to do this, they create identities based on negative stereotypes. There are several negative stereotypes associated with the African American woman. The Mammy archetype is the one chosen to be analyzed in this essay. Collins described the mammy as “-the faithful, obedient domestic servant. Created to justify the economic exploitation of house slaves and sustained to explain Black women’s long-standing restriction to domestic service…” (72) She is commonly seen trying to soothe

Along with the Mammy stereotype, the portrayal of Black women as being lecherous by nature is also a continuing stereotype. Lewd, hypersexual and loose are a few descriptive words associated with this stereotype (Thomas et. al, 2004). The Jezebel is everything the Mammy is not. Physically, she is seen as being a mixed-raced woman with Eurocentric features that those who fall into the physical characterization of the Mammy try to achieve. She has light-skin, less kinky hair, smaller lips and a more slender nose. Although the Jezebel fits the Eurocentric beauty standards, this image “branded Black women as being sexually promiscuous and immoral” (West, p. 294) due to the sexual violence committed against them during slavery. Hutchings et. al (2010) argues that, “explicit racial cues are not necessarily a thing of the past and under certain conditions they can be

African Americans have consistently been the target of cinematic and television comedy. Considering African American women, the Mammy has emerged as an icon throughout the 20th century, representing the foil to American white women (cf. Atkinson, 2004: 3). Having its roots in antebellum Southern America, the Mammy “was an important figure in the socialization of white Southern children” (DelGaudio, 1983). Considerably, various depictions of the Mammy present her performing arduous domestic duties in the household of their slave owners. Therefore, the Mammy replaces the white lady in educating and taking care not only of the white children but also of the home (cf. Jewell, 1993: 38). In their work, Jennifer Bailey Woodard and Teresa Mastin stand their

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).”

The stereotypical misrepresentations of African-American women and men in popular culture have influenced societal views of Blacks for centuries. The typical stereotypes about Black women range from the smiling, asexual and often obese Mammy to the promiscuous Jezebel who lures men with her sexual charms. However, the loud, smart mouthed, neck-rolling Black welfare mother is the popular image on reality television. The typical stereotype about Black men is the violent, misogynistic thug, and the ever-enduring pimp. These images portrayed in media and popular culture createpowerful ideology about race and gender, which affects daily experiences of Black women in America. With few healthy relationships portrayed in the media, Black women

In the April 2008 issue of Vogue magazine, harvested attention, by having LeBron James of the Cleveland Cavaliers on the cover displaying an all familiar pose on the cover. The image was simple, 6 foot 9-inch black man, bearing teeth, dribbling a basketball and clutching Gisele Bündche a white woman in arm. Reaching over a million readers per month, the magazine perpetuated an age old stereotype. “The Black Brute caricature portrays black men as innately savage, animalistic, destructive, and criminal -- deserving punishment, maybe death. This brute is a fiend, a sociopath, an anti-social menace. Black brutes are depicted as hideous, terrifying predators who target helpless victims, especially white women.” Charles H. Smith (1893), Dr. David

During the mid-1970’s, people perceived African-Americans as physically more dangerous, despite the white and black male being equal in size. One black male in particular, author Brent Staples, wrote “Just Walk On By”, published in Ms. Magazine in the year of 1986, and argues that he has held “the ability to alter public space in ugly ways” because he appears to be of the African-American race(1). The purpose behind this excerpt is to notify the audience of how struggles due to stereotypes are contemporary in a black man’s life without a logical motive. Brent Staples, accomplished writer of “Just Walk On By”, builds his credibility with personal facts and sources while effectively triggering the emotions of his audience through the broad use of ethos. pathos. diction, and tone to portray the stereotypes that black males have to deal with. Staple’s audience is both the victimized black men who have experienced the same situations as him and the individuals who fear harmless pedestrians without reason. Staples reaches his audience in his claim that the black male will always be alleged violent and troublesome which is a “hazard in itself”(1). Brent Staples thrives in signifying the unceasing negative viewing of society’s black men.

     Asian Americans only make up a small percent of the American population. Even more significant is that this percentage live mostly on the west and east coasts of mainland United States and Hawaii; leaving the rest of the American population to most likely get their exposures to Asians through television and movies. However the exposure they have receive throughout the history of cinematography has been hardly flattering. Throughout the course of history Asians in film have been portrayed as evil or the "yellow peril" as described by others. If Asians are not being classified as evil in this picture then they are most likely the comic relief, with their lack of coordination or grasp of the English

Racists often believe that alternative races are inferior. Stuart Hall, an expert in the field of cultural studies who is also interested in media studies, believes that it is difficult to completely eliminate race as a "floating signifier" because it is impossible to remove the obvious physical differences of distinct races. These distinctions are made increasingly aware by filmmakers to their audiences in such films as West Side Story, Birth of a Nation, Gringo in Mananaland, and the Four Horsemen of the Apocalypse. Even when films were silent movies, "The technology of film entertainment was so powerful…" in altering the mindsets and viewpoints of minority racial

Black Mammy, who first showed up in children’s stories and cartoons was a fat, pitch black, happily obedient servant. She was loyal to the family that she worked for, taking care of the master’s children. She was seen as kind and gentle towards the children, wearing her bandana and a big smile. Though she had no figure and was ugly, she couldn’t be seen as sexual in any way otherwise, she might become a threat to the lady of the household. In her own house, Black Mammy was in control, she was strong, and often times seem violent towards her own family.

Who is the harder in Australia? Samson and Delilah is the best movie of 2009 in Australia that was directed by Warwick Thornton. The main characters of this film are Samson and Delilah performed by Victor Mature and Hedy Lamarr. The purpose of the film is to highlight the issues is two young indigenous Australian living in an Aboriginal community. The film starts with when they live are changed then they fled the place where they live. This film is strongly shown the consequences of the European impact on Aboriginal Australian society by presenting injustice and uses camera work.

Many people say that old people fear change as they have grown so accustomed to their old ways, however, in Clint Eastwood’s meaningful and captivating drama Gran Torino, it is exemplified that anyone is capable of change. Gran Torino shares a story about tolerance and cultural differences, but also one about hope, self-sacrifice, and unlikely relationships. In the film, an abundance of cultural diversity is met with much resistance, stereotype, and prejudice by the movies’ main character, Walt Kowalski. Walt’s world is changing; his wife has died, his Detroit neighbourhood is deteriorating, his relationship with his two sons is distant, and his Korean War memories continue to affect his ability to fully enjoy life. Through an unlikely bond with the Hmong family next door, Walt finally receives redemption by coming face-to-face with the same destructive prejudices consuming neighbourhood teenage gang members that have consumed him. Through the devices of characterisation, symbolism, and dialogue the viewers will witness Walt emerge as a more compassionate individual who becomes more accepting of other cultures and ethnic backgrounds around him.