Summary Of The Movie White Chicks

Dear White People is a show about black students’ attempt to address and solve racial issues at their predominately white, ivy league institution. Each episode is told from the perspective of the main characters. The point of the film is to communicate a narrative that is not seen enough. The writers rely on stereotypes to certain extents for the purposes of dramatization, but they clearly show how no matter the shade and/or background of the black characters, they are all still directly affected by racism and prejudice around them.

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.

For this assignment, I will be analyzing the 2004, blockbuster film White Chicks with specific reference to dimensions of social stratification such as gender, class, and race. White Chicks follows the story of two African American FBI agent brothers, Kevin and Marcus Copeland who accidently foil an assiduously executed undercover operation intended to capture a group of notorious Dominican drug smugglers. As a final opportunity to redeem their tarnished reputations, the two agents take on an assignment far below their customary standards when they agree to escort billionaire heiresses Brittany and Tiffany Wilson to the Hamptons in order

In “White Privilege: Unpacking the Invisible Knapsack,” Peggy McIntosh argues that racism can be found imbedded into the culture of society; conferring and denying certain privileges on some rather than all. This is a dangerous cultivation; endowing a strong expectation that white privileges are naturally deserving. Furthermore, making the cornerstone of McIntosh’s main argument; that white privilege is just a less aggressive synonym for dominance. When you receive privileges for looking a certain type of way, the recipient becomes immune; often not being able to acknowledge their advantages. As a result, this creates a cultural divide, between racial groups.

Whiteness and racism comes from the oppression, colonization and systems of dominance over black people and their feelings. In this case, an intersectional feminist analysis matters because women who are able bodied, cis-gendered, privileged and white are only being considered whereas bell hooks argue that men, women and trans people who oppressed should be fought for. And Peggy McIntosh adds onto this but a white woman who addresses and recognizes her privilege to help other white individuals understand what they have and blacks do not.

Harris’s interest was the representational dialogic of racial difference within film and the real/representation dialect of cultural, gender, and sexual identity (Harris, 51). But the new images of black masculinity are problematic and limited. This was an operation of sorts, of “recoding masculinity from established, now historic, Hollywood codings of black men and black masculinity visualizes a more ambiguous, more discursive image, producing the meanings of an intricately constructed masculinity, more complexly dimensional than the submissive, docile Tom, or the morally corrupt, conniving, sexually threatening drug dealer” (Harris, 52). But these aggressive and politically charged black masculinities, now turned into these difficult ideological metaphors- they construct themselves from the existing “pop cultural and filmic representations of masculinity” (Harris, 52). Basically, Harris stated that black masculinity turned into a “fixed” culturally familiar/consumable construct; masculinity became reinforcement of singular, monologic meanings, only within different popular images. According to Robyn Weigman’s Feminism, The Boyz, and Other Matters Regarding the Male, Newsweek asserts, “Hollywood fades to black.” The primary images

This essay will address key aspects of white privilege and pick the two most important aspects with explanations signifying the reasons for their choosing. An explicit aspect of white privilege is the fact that it is an automatic add-on to anybody satisfying the definition of “whiteness”. Whiteness is defined by Frankenberg (1993) as a concept/identity historically, socially, politically, and culturally produced involving systems of domination (p. 40) thereby privileging anyone who satisfies this definition. Another notable aspect of white privilege is the fact that white people are taught not to recognize their privilege (McIntosh, 2002, p. 33). On a more subtle level, white privilege is an ongoing, institutionalized remnant of colonization. Another aspect of white privilege is its ability in creating dichotomies with PoC. For example, whiteness is associated with “innocence” and “goodness” while blackness is associated with “evil” and “badness” (hooks, 1992, p. 49).

Certain stereotypes have stood the test of time, no matter how many strides for racial equality have been made. Sandra Bullock’s character made the statement about the relationship between white and black people: “If a white woman sees two black men walking

The rise of Blaxploitation films such as Coffy revived the social problem films of the 1940s, but instead introduced new representations of race and gender as well as the drug crisis of the 1970s. Despite the progressiveness of Blaxploitation films in relation to previous films such as Birth of a Nation–where black characters were exploited through flat, racial stereotypes for the enjoyment of white audiences–they also thrived on the exploitation of evolved black stereotypes of the 1970s; Bogle’s “black buck,”1 characterized by violence and insatiable sexual desire evolved into the 1970s “pimp daddy,” thriving through hustling women, selling drugs, and sending hits when necessary. The representation of black women in films followed a

Peggy McIntosh, chapter on “White Privilege, color, and crime,” encourages readers to think about the world in the framework of race, class, and gender on a “White privilege” perspective. McIntosh

The theories of Laura Mulvey and Bell Hooks share their views on how individuals who attend the cinema have the opportunity to gaze and interrupt the messages that are being portrayed. Based upon their views, spectators can have their own beliefs and views of life and not have to focus on societal practices of racism and sexism. The article “Visual Pleasure and Narrative Cinema” critiqued by Mulvey, focused on how sexism and voyeurism were the main theme in terms of how males dominated society and how woman were subservient to males due to castration. In the article “In Black Looks: Race and Representation” Chapter 7, The Oppositional Gaze, Hooks mainly focused on black woman’s identity and touches on both sexism and male/white female dominance over them. Both Mulvey and Hooks help to focus ones attention on how the white male sexist and black racial domination is portrayed by Hollywood in cinema. An example of this portrayal is represented by the movie “The Help”, produced in 2011 and directed by Tate Taylor.

For instance, Brittany and Tiffany gathering of companions comprises of three white young ladies who are portrayed as shallow young ladies whose line intrigue is in shopping and in young men. While this delineation might be exact for young ladies ages 16-22, the film confines it to just white young ladies, along these lines surmising prejudice. One scene in the film embodies this: At the point when Latrell makes his introduction in the film, he goes to a gathering where the majority of the general population there are white and well off in the restrictive group of the Hamptons. One of the white men going by says, " Great game last night, Latrell ."

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,

Fundamentally, gender, racism and class are three controversial social issues that have for a long period triggered heated debate in the American society. In essence, this issues concern the daily lives of American citizen and immigrants disregarding their class, social status, educational level or the position they hold in the society. Therefore, it is imperative that these issues are analyzed comprehensively in order to take an informed stand about the impact they have to the society. This paper, seeks to critically examine how gender, racism and class are addressed in the two movies “Bread and Roses “and ”Hammering it”.

In America, racism as well as race relations are generally extremely sensitive subjects that are often brushed underneath the rug. Earlier this year, Jordan Peele’s Get Out graced the big screen, and left audiences with a great deal to digest. Peele’s first cinematic debut touched on the delicate topics of racism and the continuous devaluing of African American culture by “liberal” Caucasians in American suburbs. In this essay, one will explore the ways in which works written by modern political thinkers such as Nietzsche and Marx effortlessly add perspective through various theories on the difficulties brought to light in the motion picture, Get Out.