The Sexist Shade of Purple
If Jaws was the movie that jumpstarted Steven Spielberg’s career in the film industry, then The Color Purple was the movie that was able to distinguish Steven from any other movie director during the time. All of Spielberg’s movies prior to 1985 were generally movies of either action packed adventure or unnerving horror, but once Steven Spielberg announced that he would be doing a movie based on Alice Walker’s book, The Color of Purple, no one knew what to expect. Jump 31 years later, Steven Spielberg’s The Color of Purple, is still seen as a film masterpiece that deals with a grotesque yet historical insight of African American culture back in the early 1900’s. Through the depiction of visual art form of film, Steven Spielberg was able to highlight certain aspects of everyday African American life back then such as the existence of sexism, racism and the importance of familial relationships. However, Steven Spielberg emphasizes and brings to the spotlight the aspect of sexism of the historical African American community. With a movie full of uncomfortable and daunting scenes, Steven Spielberg is able to underline the evil social facet of sexism faced by African American women in their community in the past. Steven wants his audience to know that side of African American history and wants us to view African American women differently because of it In the very beginning of the movie, we are shown a brutal scene of the main character, Cecile,
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.
She furthermore examines Perry’s lead black female characters through “semiotic film content analysis”, a method of getting a closer look into the theoretical language of films (Mckoy, 127). Her findings are very extensive and thorough in terms of assessing the number of occurrences of particular behaviors that are normally assigned to each stereotype. Of all films that involve the character of Madea, the characteristics of the mammy stereotype appears almost 200 times. For all of his films, coded behaviors of the angry black woman and the jezebel brings the total of negative stereotypes of black women to 998 times. Both studies ultimately reflect back onto Tyler Perry, as he continues to successfully blatantly diminish any positive aspects of black womanhood in front of a tremendously large
Wilson stated that ''The truth is that often where there are esthetic criteria of excellence, there are also sociological criteria that have traditionally excluded blacks.'' He then continued on to say ''... raise the standards and remove the sociological consideration of race as privilege, and we will meet you at the crossroads, in equal numbers, prepared to do the work of extending and developing the common ground of the American theater.'' Through these powerful words Wilson is saying that in order to reflect American culture in the theater, the history of African American’s must be reflected. There have always been systems in place that have excluded African Americans and white Americans will never understand the way that sense of oppression felt. White Americans will never understand how it feels to be enslaved, be powerless in protecting your family, and being sold off as property, as Eliza Harris from Uncle Tom’s Cabin, and millions of other slaves felt. Photographing the “American Negro” by Shawn Michelle Smith presented the idea that white Americans have tried to take away the histories of other races in America. People have always turned against embracing the histories of the African Americans because they were seen as alien to their owners. Their different skin tone separated them from the white Americans who thought of them as uncivilized before they were brought to work for them. Ultimately Wilson calls for Black Theaters to prevent the culture of the
The movie The Color Purple shows an intercultural perspective using concepts like racism, stereotypes, socialized cultures and the power distance between men and women. In this era, women, in general, were socialized into the cultural norms of the times. There was very high power distance between males and females and black women were specifically mistreated not only by the member of other races but also by men from their race. Women
These stereotypes depicted “drug dealers, prostitutes, single mothers, and complacent drag queens” (Harris, 51). In the 1980s, African American filmmakers began to make a name for themselves. These films are “social commentaries, indictments of racism and depictions of ‘everyday’ American lives” (Harris, 51). Compared to the traditional representations of blacks and blackness, New Black cinema takes on this cultural intervention and the recoding of blackness. Harris describes this as “revising the visual codes surrounding black skin on the screen and in the public
While the 1970’s and 80’s marked a decline in movies featuring black actors and a lack of black directors, the mid 1980’s through the 1990’s invited a new generation of filmmakers and rappers, engaging with the “New Jack” image, transforming the Ghettos of yesteryears into the hood of today. A major director that emerged during this time was Spike Lee. According to Paula Massood’s book titled, Black City Cinema, African American Urban Experiences in Film, “…Lee not only transformed African American city spaces and black filmmaking practices, he also changed American filmmaking as a whole.” Lee is perhaps one of the most influential film makers of the time, likely of all time. He thrusted black Brooklyn into light, shifting away from the popularity of Harlem. By putting complex characters into an urban space that is not only defined by poverty, drugs, and crime, it suggests the community is more than the black city it once was, it is instead a complex cityscape. Despite them being addressed to an African American audience, Lee’s film attract a mixed audience. Spike lee’s Do the Right Thing painted a different image of the African American community, “The construction of the African American city as community differs from more mainstream examples of the represents black city spaces from the rime period, such as Colors…, which presented its African American and Mexican American communities through the eyes of white LAPD officers.”
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
By comparing both stories together, and the characters within them, it is clear that neither the narrator from “The Yellow Wallpaper” or Harrison from “Harrison Bergeron” agree with the way they are being treated caused by their social, political and economic standpoint in society. In both stories they have opposing forces trying to dictate their life, and telling them who they are supposed to be. Within the story “The Yellow Wallpaper”, the narrator is being authorized by her husband john and in the story “Harrison Bergeron”, Harrison is being oppressed by his government system. In both societies of the stories, the characters are treated differently for who they are. The people to have more power in their lives, decide who they are and what they can be. The ultimate outcome of their life is up to the forces controlling them. Both characters have no way to escape the labels given to them, without going against the people restraining their potential. The characters have many good attributes to them, but are confined to being what others tell them to be. The narrator has wonderful writing skills and an active mind which allows her to be creative and have an artistic personality, but her husband will not allow her to write or be who she wants to be because he has the capability to control who she is. Harrison is a genius and an athlete who could build upon his abilities to better himself as a person both mentally and physically, but the government will not allow him to
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.
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
Firstly, The Color Purple (1982) is written by the African- American novelist Alice Walker. For creating such an innovative novel, Alice Walker’s The Color Purple won both the Pulitzer Price and the National Book Award. Walker initiated her novel by a confession that The Color Purple is her spiritual journey and the female protagonist represents her during this journey. The novel is made up of 90 letters written by Celie to God and some of these letters are written by Nettie to her sister Celie. These letters are similar to a diary that Celie finds as a way to express her feelings , emotions and thoughts in a place she is not permitted to be free. Generally, the novel portrays a life and a journey of a young fourteen -year- old black girl who is persecuted throughout her life from her stepfather who repeatedly raped her and forced her to marry a cruel man who, in turn, oppressed her.
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
[1] Before I start this essay, I feel the need to remind the reader that I find slavery in all its forms to be an oppressive and terrible institution, and I firmly believe that for centuries (including this one) bigotry is one of the most terrible stains on our civilization. The views I intend to express in the following essay are in no way meant to condone the practices of slavery or racism; they are meant only to evaluate and interpret the construction of slavery in film.
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,
The Color Purple movie was directed by Steven Spielberg and released in 1985. This movie is a reenactment of the novel written by Alice Walker. The movie started with a young African American girl named Celie narrating a letter as she wrote to God. She grew up in Georgia in the early 1900s. A shy, timid, scared, and unassertive girl, who lived in a home with a man known to be her father, Alphonso. She was raped and abused by this man. As the movie goes on, she shares that she has two children by her father and he had put them up for adoption. Later on, as a young child, Celie was married off to a man known by the name of Mister. He needed someone to fill the missing void of his wife who had recently died. Her marriage was quite depressing. She had to raise Mister’s children, clean house, and undergo sex with this man. It was a very dominant marriage. She experienced the same abuse here as she did at home with her father. I believe during that time sexism was heavily portrayed. Time had gone by and Celie had gotten older, she became more confident, outspoken, and she overcame adversities.