The Effects Of Black Stereotypes On Mass Media

As African Americans we have such a rich diverse culture filled with different cuisines, languages and traditions. We definitely should be proud of the many accomplishments that we have made as a people. But in terms of black history it dates back to some of the most inhumane and repulsive actions that African Americans were subjected to. Aside from the racism and segregation that occurred to black people we were also seen as a joke in TV/movie culture back in the day that perpetuated many stereotypes. In the article “Black Stereotypes as Reflected in popular culture” by J. Stanley Lemons he talks about these clichés that were portrayed but most importantly the action of blackface. For me blackface was the most detrimental and had the most

All of this proves that Hollywood is not doing a good job in making up for the blatantly racist films of the twentieth century. Hollywood needs to do more to reverse the stereotypes of early film because such stereotypes are still seen today along with their respective repercussions.

When you look at the amount of African American stars on television, it is easy to tell that stereotypes of African Americans are being portrayed negatively. Since the 1960s, black television has thrived in many different ways. From “Different Matters” to “Insecure”, African Americans have tried to get rid of this stigma. African Americans are constantly shown as. However, with the increase of representation comes an increase in misrepresentation. The amount of discrimination has risen exponentially in the United States. This is due to the increased hatred and miscommunication of black struggle and black problems in the world, causing an inhumane belief and standard of regular African Americans in the world.

Using the language of the moving image, which includes cinematography, editing, sound, music and mise-en-scene, this essay will investigate the ideology of Racism in film. OxfordDictionaries.com describes racism as “Prejudice, discrimination, or antagonism directed against someone of a different race based on the belief that one’s own race is superior.” When we, the audience think of racism in film, we traditionally think of movies for adults and often overlook the sinister aspect of racism in children’s films. I have chosen to contrast a recent R-rated film with a G-rated Disney movie from the 1990s. Disney films, even up until the 1990s have persistently reinforced the image of blacks or latino and asian races as being below whites. The

Stereotypes are defined as an oversimplified image or idea about a specific type of person. It is believed that stereotypes about African Americans began in the United States around the 18th century. Anti-Black stereotypes arguably the most developed racist stereotypes in racial framing and have been used as foundations for the capture, enslavement, and later, the subjugation of African American people. Stating that stereotypes are just a joke is an understatement of the consequential after – math racial images and stereotypes have on the African American population. Even stereotypes that are considered positive are often concealed with negative implications and reasons as to why they exist. Most people may think they only hold stereotypes in the back of their head, but studies show that people are more likely to fall back on them in making judgments when they feel challenged, face uncertainty, or experience sensory overload. Using information from class, comparisons from the films we have watched and Ed Guerrero’s Framing Blackness, this paper will analyze the stereotypes in the television show Empire.

In order to fully ascertain the gravity of negative archetypes, it is important to explore a common one. Donald Bogle is a film historian and lecturer at the Tisch School of the Arts at New York University. Bogle has authored a book entitled Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks, in which he outlines a few of cinemas most infamous black architypes. The one most salient this this essay is that of brutal black buck. Bogle divides the brutal black buck into two subcategories: “black bucks” and “black brutes.”

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

The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun.

When I first heard someone say, “All African American people are Ghetto,” I was very offended that someone would make this type of assumption about my culture, and I thought how ignorant this person must be; but then I stopped and wondered why other people would think this about us. I asked her why she would say something like this, and she instantly listed shows like Tosh.O and Chelsea Lately, which highlight my culture in a negative view. It was clear to me that she had made up her mind about black people through watching the media and seeing African Americans fulfill that stereotype in person. This led me to question: Where exactly do these stereotypes come from?

The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith

According to Tukachinsky, Mastro, and Yarchi, prior to 1930, the role of Blacks on screen were seen involving mostly in criminality and idleness (540). That role still persists until the present, with Blacks usually have to withstand to “longstanding and unfavorable media stereotypes including sexually provocative females and aggressive male thugs” (Tukachinsky 540). 1970’s movies such as The Mack, Black Caesar and Coffy have reinforced this stereotypic image of the black community. The

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

“The Negro Soldier” (1944) was a war propaganda film which was used to recruit African-Americans to the Army. It received such positive review that it was viewed by both white and black troops and eventually released to the public. It depicted African-Americans capable of well-respected, and previously white-restricted, .jobs like lawyers, doctors, musicians and other respected jobs. After the showing of “The Negro Soldier,” African Americans gained respected and prominent roles in films. It was due to “The Negro Soldier” that film makers realized that they could manipulate societal structure by using films.

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,

For people of African descent, both in America and abroad, the questions and facts of enslavement in the New World carry heavy questions of blame, assessment, wonder, and humiliation. For contemporary citizens of the Americas, those diasporic questions are borne of race, morality, disenfranchisement, and economic enforcement, raising larger questions centered in shared cultural experience. Conspicuously, if film, as art, is to be looked at as a cultural artifact, then black independent film and the recounting of black lived experiences can be seen as artistic markers of racial progress, evidenced identity, and the claim to self-definition, leading to questions centered on the ways in which meaning is made of cultural experience as it is represented and shared.