Hollywood 's Outrigger Canoes And Pacific Indigeneity : A Comparison Of South Pacific ( 1958 ) And Waterworld

The concept art imitates life is crucial to film directors who express their views on political and social issues in film. In regard to film studies, race is a topic rare in many films. Like America, many films simply refuse to address this topic for various reasons. However, more recently, Jordan Peele’s 2017 box office hit Get Out explicates contemporary race relations in America. In the form of an unconventional comedy horror, Get Out is intricate in its depiction of white liberal attitudes towards African Americans. In short, Get Out suggests a form of covert racism existing in a post- Jim Crow era. Similarly, Eduardo Bonilla- Silva’s book Racism Without Racists acknowledges the contemporary system of racism or “new racism,” a system

Unlike most people today, I rarely watch TV and do not follow any shows; therefore, I decided to evaluate my favorite film franchise, Disney. The Disney Corporation began creating movies in a rather non-inclusive time, the early 1900’s; thus, several of their movies depict racial and gender stereotypes. The problem does not revolve around the actual making of the movies but that Disney still holds on to several of these iconic movies. For example, Dumbo and Peter Pan are two movies still admired today with racial stereotypes.

From the beginning of the film industry, individuals and communities—particularly those of racialized and gendered minority groups—have been either underrepresented, misrepresented, or both. Hollywood has been a massive suspect of misrepresentation and enabling/promoting socially constructed misconstructions through mainstream films since its creation. Despite obvious progress being made towards eliminating underrepresentation and misrepresentation and embracing true cultural depictions, films often still foster stereotypes and misrepresentation both directly and indirectly. One example of a film that does this is “The Pursuit of Happyness” starring Will Smith and directed by Gabriele Muccino.

Misrepresentation of Natives on screen throughout the 20th century has had an adverse effect on them. Whether it was positive or negative stereotypes, Natives felt the effect of Hollywood and began to lose their self-identity, their honour, and their pride. Reel Injun takes a look at how movies have defined an entire race and also documents the rebirth of the Native identity after decades of destructive Hollywood movies by interviewing notable Native actors, actresses, and activists. By doing so, director Neil Diamond hopes to silence Hollywood stereotypes and get Hollywood to properly represent the Native people.

All through the considered silent period, Blacks in film were typically pigeonholed as toms or coons. Nonetheless, the savage still showed up, particularly in the uncommon, in movies of “all colored cast”. These movies were aimed at portraying women as lesser beings because they could be used as dancers or sex tools in the Antebellum South, or in present-day Harlem. Extensive consideration has been given to the commonness and diligence of generalizations of the blacks in America (Bates 661). Yet one of these recognized generalizations or stereotyping, the “abysmal mulatto,” has gotten quick consideration from researchers and social pundits of film and pop culture in the United States. The Birth of a Nation portrays a society that is truly bent in keeping up the rigid social limits, this exclusion is very tricky. It is true that most films during this period, tried to dissect the film’s political capacities and sociological effect as far as race, sex, and class is concerned.

African Americans have been represented in the media with harmful stereotypes which were founded in the slavery era (Cartier, 2014)(Carpenter, 2012). This negative representation invites bias from those who accept the images, the distortion of which is accentuated by both sexism and racism. Black women are the least represented group in cinema, making it easier to rely on stereotypes which encourage societal bias. From these stereotypes, like the Jezebel and Sapphire, stem the “real world” stereotypes of the welfare queen and the crack mother (Carpenter, 2012), showing that media portrayals have shaped public perception regarding black women. While certain genres have seen a rise in portrayals of diversity, overall Hollywood as an industry remains unchanged, inaccurately representing minorities (Smith et al., 2016).

Throughout the last century, the role that African Americans have played in films has changed drastically, and for the better. When black people first started acting in movies they were strictly relegated to playing the roles of pre-determined stereotypes of the black man. Not only were they forced to play the roles of insulting stereotypes, but also the only aspect that determined what role they would play was essentially their skin color. In a world today where we are taught that we are all equal and that color of skin is simply the product of where your people came from, your culture, and who your parents are. Throughout this research paper I will put forward the numerous stereotypes that are shown in the films that first used black

In a time where the media has possess a strong impression on the minds of those consuming it now has become the jobs of directors, producers, and film companies to be mindful of the stereotypes they are putting forth with their content. How can we erase the negative connotations that we associate with races when these images are being maintained in the media? The Tom or Uncle Tom stereotype of the well-mannered elderly negro is one that should have vanished by now, but as of late it has been revived by award-winning filmmaker Quentin Tarrantino in his blockbuster film Django Unchained. The stereotype had previously reared its head in Disney’s live action film Song of the South. The aforementioned Disney film was made in 1946, while the Tarrantino film was released in 2012. Were those 66 years not enough to lay to rest a foolish racial stereotype?

It is no secret that the overwhelming majority of the most popular and award-winning Hollywood films feature white characters, played by white actors in the lead roles. Lindsey Hopes' analysis on "whitewashing" in the media examines the extent to which the structural apparatus of the film industry hinders the opportunity for success for minorities. The analysis found that only nine percent of the highest grossing films between 2000 and 2011 featured minorities as their top-paid actor. (Hopes,19)

Matthew Hughey wrote “Cinethetic Racism: White Redemption and Black Stereotypes in ‘Magical Negro’ Films” in 2009 to dicuss the trend of progressive African-American representation called the magical negro. Hughey examined 26 films to understand race relations and how mainstream audiences interpret the films. He found that the magical negro are placed in subservient positions and can reaffirm the status quo by changing contemporary racism rather than showing evidence of racial progress. This literature piece is used to help describe the relationship between the majority and minority groups within the film, and

Representation of African American Race in Movies Short Paper Two Natarsha Bassett Arth 204   Representation of African American Race in Movies Being an African American requires one to understand the concept of self-esteem and self-identification. The history of mistreatment of blacks created a platform for me to stand and express myself without fear of the whites. Notably, self-belief and knowledge are important factors in establishing one’s foundation in the society. As a young child, my parents inculcated values such as courage, hard work and self-realization and therefore understood that I had different skin and hair than my white neighbors. This however did not mean that whites were superior and more intelligent than blacks were.

These pictures include a broad range of films from historical dramas to musicals.” Moreover, these Hollywood’s movies don’t want to depict a biased image of Afro American, “ they focus on many different aspects of African-American life – not just crime and drug culture which has often provided the backdrop to black stories in US cinema” . 12 years a slave (2013) directed by Steve McQueen and Lee Daniel’s the butler (2013) directed by Lee Daniels are the perfect example of the new turning point in Hollywood. These two full-length films bring a new vision: points of views of by Black men on the Afro American history. Despite the financing problems at the beginning of Lee Daniels’ movie – “It was a rough journey getting this film financed because the studios didn’t want to do it… (Because it’s about a black character and it wouldn’t attract a wide audience)”- theses movies had a critical and financial success. (Crari, 2012, p80). According to Jane Caffrey, Hollywood “most important color isn’t black or white but green” . Money is again the center of Hollywood’s mind, to make

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

“Oscars So White” a phrase that began trending on social media sites after the 2016 Academy Awards announce their nominees for Best Actor and Best Actress, it was predominately white for a second year in a row. The movie industry is no stranger to controversy and since its inception it’s constantly been guilty of underrepresenting ethnic people. It’s evident that film is a type of mass media that has a certifiable amount of power to influence audience’s views, yet this platform constantly disregards the need for diversity in favor of stereotypes. Movies such as Breakfast at Tiffany’s (1961), Scarface (1983), and Pan (2015) are all guilty of this. The depiction of non-American characters in Hollywood movies are constructed around racial

Of course there’s various times where racism has occurred in the past at Hollywood, but is it over? Just because black face isn’t that much of a thing anymore, does it mean that there’s less subtle forms of racism and ignorance that still occurs today? Of course it does.