In recent years comic book adaptation films have grown increasingly common in cinema. Fans of the classic format are joined by a new generation of fans to create the current cult of comic book movie lovers who relish in the sight of seeing their beloved heroes take shape in the cinematic world. These films have become so popular in fact that the new release of films from this genre are basically seen as sure fire big screen blockbusters. Currently three of the top ten films listed on IMDb’s list of highest grossing films of all time are comic book films (IMDb). It’s clear that people around the world are loving the idea of caped crusaders and masked heroes becoming adapted into live action roles. Despite all of the love these adaptions are receiving they are by no means perfect. These current superhero films and really the genre as a whole seems to be missing something vital, they seem to be missing diversity. The current roster of heroes that are seen in the cinematic universe all seem to be cut from the same cloth. What this means is that nearly all of the current leading heroes in film fit the same description which is being a heterosexual, Caucasian, male.
Of the many comic book films that have hit the big screen in the past decade there are very few that actually have a diverse cast and of that slim amount there is an even smaller number of comic book films that showcase a protagonist that is not white, male, or heterosexual. Many will argue that the reason as to why
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The 2015 Hollywood Diversity Report, published by UCLA’s Ralph J. Bunche Center, said that while minorities account for more than half of frequent US moviegoers, the representation of those minorities has dipped since 2013. The report describes that year as a “breakout year” for black films, including 12 Years a Slave and The Butler. In 2015, Straight Outta Compton made over $60m, which was $20m higher than expected. (Hollywood Diversity Report). The report says black audiences are repeatedly undervalued. What the report is proving is that the lack of diversity in the film industry is actually costing Hollywood money. The problem and solution seem almost obvious when looking at these specific examples – do not underestimate minority audiences and how much money they will collectively spend watching movies with diverse
In the movie Dirty Dancing, the main characters are seventeen-year-old Frances Houseman, also known as ‘Baby,’ and Johnny Castle, who is a supposedly twenty-five-year-old dance instructor (Sylwester, 2008) This movie takes place in the summer of 1963 at Kellerman’s, a vacation resort (Ardolino & Gottileb, 1987). Throughout the beginning of the movie, the budding romance between Baby and Johnny becomes apparent; by the end of the movie, they have confirmed a relationship, but Johnny has been fired and must vacate the resort. Due to the setting of this movie, the gender construction and messages are a little more outward than they may be in a more recent movie.
In the movie Casablanca, directed by Michael Curtiz, two different kinds of love are exposed. The love relationship between Ilsa Lund and Rick is a more passionate relationship while the one between Ilsa and Victor Laszlo is more intimate. Love is composed of different feelings and because of that it can be expressed, as seen in Casablanca, in different ways. “The Intimate Relationship Mind”, a text by Garth J. O. Fletcher and Megan Stenswick, helps support that claim providing a scientific background on how love is shaped by those different feelings. It says that “love is composed of three distinct and basic components that each represent evolved adaptations; namely, intimacy, commitment,
Superheroes such as Miles Morales, Kenan Kong, and Jaime Reyes taking the title of Spiderman, Super-Man, and Blue Beetle all have one thing in common; they epitomize an underrepresented ethnic and racial community. Axel Alonso, the creator of the half-Hispanic, half-black Spider-Man (Miles Morales), explains, “Miles is but one face in a diverse landscape of heroes that includes Kamala Khan (Ms. Marvel), Sam Wilson (Captain America) and Amadeus Cho (the Hulk), and offers readers of all creeds and colors a chance to see their own reflection” (Moreno, 2016, para. 10). Just like the creation of Batwoman, Miles Morales’ creation is due to the fact that creators wanted to be able to reach every member of their audience. However, “often lost in the intersection between superheroes and science fiction is the place race occupies in the genre, and when it is addressed, the discussion frequently turns to framing the genre as racially biased,” (Nama, 2008, p. 134). For these reasons, many comic book creators refrain from addressing these issues, since it may lead to them being accused of conforming to a stereotype. Even so, “the audience for comics is a truly multicultural one; in fact, it is more ethnically diverse than are the heroes the young people read about” (Brown, 1999, p.
In 2013, Latinos accounted for only 4.9% of the roles in the top 100 films of the year. From the beginning, Hollywood had always been dominated by white men and women. However, as time progressed there was a very slight change in cultural and ethnic diversity. Though it is more likely now than ever to find a Latino or Latina in a Hollywood film, their roles are often small, stereotypical, and almost entirely unimportant. As if it wasn’t hard enough to get any role in any Hollywood film regardless of ethnicity, Latinos have to endure playing a harshly demeaning role. Latino men are often cast as comedic relief and play gardeners, janitors, or thugs. Latino women are often cast as maids or mistresses. Aside from this, when women are cast as mistresses they are often submissive to their white male partners, meaning that not only are these roles ethnically demeaning, but also sexist. Along with Latino female sexualisation, though, Latino men are also heavily sexualized. Both Latino women and men have to deal with the exploitation of their culture for stereotypical roles in a movie. However, these are only some of the vicious patterns that attribute to the everlasting ethnic misrepresentation in the biggest part of mass media, Hollywood.
Comprehensive Annenberg Report on Diversity in Entertainment, showed one-third of females with a script were 33.5 percent, in spite fact that woman represented about half of Americans population. The percentage of characters with dialogue who were non-white was just 28.3 percent, which is roughly 40 percent of America’s
Television and film is a huge part of American culture. As the “face” of America changes, it is expected for our media to reflect it. Unfortunately, this is not the case. Since the beginning of film, minorities have been misrepresented and underrepresented. While there has been a significant increase in minority actors since the beginning of film, there is still a huge underrepresentation present in American television and film. Our media needs to reflect out diverse country. This topic is always important and relevant because race, gender, and sexuality, in general, have been issues throughout the growth of television and film. Even today, minorities are subject to
Diversity and representation has been in an increased demand over the past few years. Even children's TV producers and creators are taking notice by including LGBT and all sorts of ethnic characters in their shows. However, it seems that Hollywood has yet to take note.
Television still doesn’t completely represent the diversity in America. Roughly three-quarters of film actors were white in 2014. There was only 12.5% African American, 5.3% Asian, and 4.9% Hispanic actors while there was 73.1% white actors. Studies also show the majority of actors are male. According to the annual 100 top grossing films 2007-2014 only 30.2% of speaking or named characters were women, while 73.1% were male whites.
In 2015 Hollywood Diversity Report: Flipping the Script, Drs. Darnell Hunt and Ana-Christina Ramon takes a hard look at the statistics of women of color involved on television, in movies, and behind the scenes. In 2013, cable scripted television programs had approximately 62.9% lead male roles and 37.1% female lead roles – of that 80.7% of lead female roles were white and 19.3% were Asian, Latino, Indian, and black women of color – a slight increase of 4.6% since 2012. It was in 2012 that women held the most female leads in the history of film: 30.8% – of these 15.1% were women of color; however, in 2013, the percentage of female leads dropped to 25.3% while increasing in minority roles to 16.7%. Furthermore, it is seen that female television writers and directors make up approximately 30% with 30% of these women being minorities. Oscar winners by gender was an even 50% in 2012, and increase of 32% since 2011. Of these female actresses, 25% of them were minorities – an increase from 0 in 2011. Drs. Hunt and Roman admit to studying these finding in an attempt to shed light on the “Hollywood race and gender problem” (Ramon). The increase and decrease of gender roles and minority roles is proof that Hollywood has the capacity to correct the problem when it comes to discrimination and prejudice, but seemingly refuse to do
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
In a study of 414 films and television series, only 33 percent of all characters were women, and only 28 percent were of racial minority status (Associated Press). Casting diversely in entertainment has been an issue for years and has recently spawned many controversies such as the 2016 Oscar Controversy where an outrage occurred due to a lack of minority Oscar winners. Many cultures and races fell underrepresented and cast aside by film and television. The entertainment industry should cast more diverse actors because it increases viewership, provides a broader perspective, and creates a more realistic setting.
Films have the power to both influence and reflect society. The stereotypes prevalent throughout American culture are reflected in most films. While the United States is becoming an increasingly diverse country, this diversity is not portrayed within American cinema. Minority figures often occupy
Today, romance is one of the most popular genres to watch on television. Unlike most, romance is a genre where the plot revolves around the love between two main characters as they experience the highs and lows of love. “Common themes that revolve around romantic movies are kissing, love at first sight, tragic love, destructive love, and sentimental love” (Taylor). These themes appear in many historical films and the pattern still continues in modern films as well. Watching romantic movies has a giant negative influence on the viewer's analysis of what love and relationships should really be like. These films give the wrong impression of reality when it comes to dating, marriage, having children, and even how to manage a relationship in
Frequently, most superheroes in cinema are portrayed by male characters rather than women, creating a distinction between gender roles. Indeed, through the passage, “These results may suggest to viewers that women are less important, knowledgeable, and capable than men – and less likely to be a hero” (Miller et. al) women are much less likely to be featured as the hero within the film, and more likely to be featured as the “damsel in distress” of the story. Furthermore, women are much more likely to be depicted in a sexualized fashion, even when displayed in the role of hero. This feature of women with a lack of dominance defies feminism, as they lack roles in superhero films and they are portrayed with the sole purpose of boasting