Explicit Dehumanization Of Pop Culture

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.

In “The roots of racism,” according to Lance Selfa, the origin of racism began with the growth of slavery. The latter was initially used for profit means only, free from racist ideas, as it was a cheaper alternative for labor; however, it eventually became an ethical and racial issue. Mass media, that once was a vehicle to spread culture and competent journalism, began to be used to reinforce racist stereotypes and black subordination in relation to white people. New black characters began to rise, inside and outside of the screen, portrayed in degrading roles linked with their dark skin color. For the most part, this negative association has remained unchanged through the years, if not inside films and books, inside the public’s subconscious.

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

Shameless is a Golden-Globe nominated show with a white dominated cast. One of the siblings on the show is black, but is identified as a White male contrary to the character’s skin tone. “When it comes to representations of Blacks on television, the 1980s can be seen as a decade of elevated inclusion both in terms of the quantity and quality of roles -- which remains the norm today. (Tukachinsky, Mastro, & Yarchi, 2015). Over the years, we will see more shows gearing their audiences to the black community. Producers add in a few social issues to reel viewers in, but the fact remains the same that a prime time heavy hitting shows, will most likely have less than 20% of their cast of African descent. In consonance with researchers, blacks currently constitute between 14-17 percent of the prime-time population. (Tukachinsky, Mastro, & Yarchi, 2015). The lack of representation in the media can lead to some interpreting that the Caucasian race is the superior race, and in retrospect, can influence the attitudes and beliefs of viewers. Prior research has shown that exposure to counter stereotypic exemplars in the media can have a positive effect on inter-group relations. (Scharrer, & Ramasubramanian, 2015) In order to reduce the misrepresentation from taking over the media, we must depict a positive image on the lives of minorities and portray them as successful, thriving human beings. By

Across the nation, millions of Americans of all races turn on the television or open a newspaper and are bombarded with images of well dressed, articulate, attractive black people advertising different products and representing respected companies. The population of black professionals in all arenas of work has risen to the point where seeing a black physician, attorney, or a college professor are becoming more a common sight. More and more black people are holding positions of respect and authority throughout America today, such as Barack Obama, Colin Powell, Condelezza Rice and many other prominent black executives. As a result of their apparent success, these black people are seen as role models for many Americans, despite their race.

As equality has become a prevalent issue and has furthered the significance of how all races are represented in all types of media. It only makes sense for there to be an increase in the effect of the stereotypes because it is what is being shown on television. On everyday television shows, African Americans are commonly: thieves, hookers, robbers, drug dealers or dumb. In the early 60s, African Americans were used as comedic relief in white television shows, creating stereotypes that black people are only used for talent or comedic relief. However, in this world, African Americans are pushed into the similar lives of the weird kids and/or losers that don’t accept their race. This

World War II was the deadliest worldwide conflict in history. It was estimated to cause over 70 million fatalities.(NEED SOURCE) What many people may not consider though, is how World War II affected people's inner self, not just casualties. In Unbroken, by Laura Hillenbrand, Louis “Louie” Zamperini suffered imprisonment, beatings and is neglected essential/basic human rights. Like so many other American prisoners of war (POWs), Zamperini is dehumanized and his dignity is taken away. Japanese-Americans were also treated equally horribly during World War II. After Pearl Harbor was bombed, Japanese-Americans were forced into internment camps throughout the United States. Miné Okubo was among these citizens who were unjustly accused/judged and mistreated. Zamperini and Okubo alike resisted the attempts in World War II camps to make them feel dehumanized and isolated.

When you live in the suburbs of Atlanta, it was easy to forget about whites. Whites were like those pigeons: real and existing, but rarely seen or thought about…everyone had seen white girls and their mother coo-coing over dresses; everyone had gone to downtown library and seen white businessmen swish by importantly, wrists flexed in front of them to check the time as though they would change from Clark Kent into Superman…those images were a fleeing as cards shuffled in a deck, where as the ten white girls behind us were real and memorable (179).

In 1899, the term “white man’s burden” was coined by Rudyard Kipling to depict the social responsibility that white men believed they had towards blacks. Although the term is out of date, the meaning behind it has not left society, as the “white messiah” has come to replace it. Although the connotation of the term is no exactly the same, the basic meaning behind “white messiah” is that a white male protagonist will save a desperate group of people from the evils that superior, white society has placed on them. The “white messiah” figure can be seen in the film, “Avatar”, directed by James Cameron. Even though Avatar deviates from the typical “white messiah” formula occasionally, according to Mitu Sengupta in her article, “Race Relations Light Years From Earth,” one can conclude that the entertainment industry is still perpetuating racial inequalities and racism. By analyzing “Avatar” and the concept of the “white messiah”, one can argue racism still exists in the American society and whites feel guilty about the racial inequalities. Even though they have this guilt, whites will not change if it means that they must give up their “white privilege.”

During the process of producing a television series, the demand for the producers to introduce their characters with only their highlighted traits make it impossible for viewers to gain a deep understanding of the community that the characters represent. One of the stereotypic traits that is usually seen on movies and television shows is societal difference that each race is placed into. Michael Omi in his article In Living Color: Race and American Culture stated that “in contemporary television and film, there is a tendency to present and equate racial minority groups and individuals with specific social problems” (546). There are many films and television shows found today that ground racial minorities into a specific social problems that are related to the color of their skin. It can be inferred from the current popular culture that this stereotype still persists.

The media often depicts people of color in tropes based on their racial and ethnic identities, and these tropes are usually offensive and demeaning. People of color are usually shown in two ways; more aggressive and violent than the white hero, or less aggressive and violent without imposing a physical threat. Either depiction is meant to be compared

In 2014, growth has been made but there are new hindrances that stand in the way of Black representation. One problem is in the use of ethnic recasting, make normally white characters and casting them as people of color, which works in theory but has downsides in practice. Another is a form is representation that is not truly representation. Now, instead of creating stories that have black heroes, many stories have biracial characters. Others have characters whose race is not easily clear, or purposefully left undefinable. These characters are then called a

Yet, despite this struggle for ownership, the fit between Science Fiction and people-of-color appears to be an intuitive one. Mark Dery (“Black to the Future”) poignantly points out, effectively noting that African Americans are always already seen and constructed as Other/Alien (8) . Is that all that surprising? Not

I was freshman in high school when I first stumbled upon a copy of Newsweek. What caught my attention was its trademark title: white type, red highlight, an implication that stories of great consequence lay underneath. Such bold lettering made me pause for a moment, and I was persuaded to flip through its glossy pages. To my surprise, I was easily captivated.

Over 400 hundred years there has been slavery, racism, and discrimination in America with blacks, and other minorities. A famous man once said “I refuse to accept the view that mankind is so tragically bound to the starless midnight of racism and war that the bright daybreak of peace and brotherhood can never become a reality... I believe that unarmed truth and unconditional love will have the final word” – Martin Luther King Jr (brain quote). The movies ‘Miracle at St. Anna’ directed by Spike Lee, and ’12 Years a Slave’ directed by Steve McQueen both show the struggle African Americans went through during a tough racial period in American history. Even today in Modern society African Americans still deal with racism. Spike