While some felt that Archie's use of racial slurs amounted to prejudice most saw the series as an important move toward realism particularly in terms of race relations on television.The Bunkers' next door neighbors were a black family whose characters were later featured in a popular spin-off series. The Jefferson’s which aired from 1975 to 1985. (http://www.engl.virgina.edu/~enwr1016/amc2d.html) Then in the late 90’s the TV World came out with a whole new channel BET. Black Entertainment Television, this was to make African Americans more noticed around the world.By the late 1990s more African Americans than ever were involved in the television industry, some in executive and production roles.
However, a pattern became evident, a pattern of type casting African Americans in roles which did not accurately and wholly portray the individual. A misrepresentation of African Americans became the common image on television. Variety shows initially promoted the new media as an opportunity for equal representation and communication between the races. However, a trend developed with African Americans often being “portrayed as custodians, maids, servants, clowns, or buffoons” (Crenshaw). The negative image, which was developed by these stereotypes, was perpetuated in the Amos and Andy Show.
There were many different aspects of factors that helped Black people gain Civil Rights. Television was one of these factors but also it was down to other types of technology to help black people get their views across to people. Two of these people are Martin Luther King and Malcolm X, these men are known as two of the most devoted and influential people in black history. The blacks of America craved basic civil rights, as they couldn't have any view for themselves without it. The civil rights movement started in the end of the 1950s and various protests broke the pattern of racially segregated public facilities in the South and achieved the most important breakthrough in equal-rights legislation for blacks in America.
I am going to compare and contrast both the hood and historical films Edward Guerrero and Paula Massood both believed that the hood film was created for the benefit of portraying reality in African-American communities. Yet, Mark Berrettini, Joel Brouwer, Roger Berger, and Marilyn Wesley argue that the hood films are counterfactual to society and historical films are necessary to show a positive African-American culture. Mirroring the anger and frustration of the African-American community of the 1960s-1970s, 1990s black filmmakers created the hood film. Like the Blaxploitation era, the film industry noted an increase in moviegoers and films to watch hood films. Both 1960s and 1990s, African-Americans were frustrated with their political and economic conditions in urban environments and addressed their anger towards making movies (Guerrero 159).
The Cosby Show seeked to change racial stereotyping in television by portraying an upper-middle class African American family. The Cosby Show attempted to break barriers for African Americans in television and did so by paving the way for other major African American based sitcoms. “The End of Post-Identity
Regardless, African American performances have always had the ability to express elements of the African American community on the big screen. For decades these skills were hidden by racist producers and directors. American society was not ready to see the genius, sophisticated skill, and powerful themes that come from African American culture. These films not only help to show the life's of African Americans, but that of all American society, future films will help audiences measure how far America has come in regards to racial tolerance and how far yet, they must go. Works Cited Friedman, L. (1991).
The prime example being the characters of Alf Garnett or Eddie Booth. Although the original intent of the creation of these characters was to show an exaggerated version of the British public’s views, it actually heightened its audience’s perceptions of the black community. But then in later years as black sitcoms began to appear on television, the opinions of the public began to change. This is because of the strong consistency of black representation that was being shown on TV between the 1980s and 2000s. Black people were being shown in the same types of everyday situations, and there wasn’t an issue of negative racial epithets being used, which in turn showed that black presence on television was being respected, and audiences were respecting it.
Dr. KING: Thanks for having me. It's a pleasure. HOST: Dr King, tell us how did you get the world to see the struggle of black America? Dr. KING: "My goal was to draw on traditional American values and deep traditional Christian values in the cause of civil rights and to use the mass media. I knew that television was now putting daily events right into people's living rooms every single day, and if I could shape the way the black movement was presented it would have a powerful effect on public opinion.
The black codes suggested that the blacks were still the inferior race, and they also show the reluctance the south had to change their lifestyle after the Civil War. The black codes returned political, social, and economic power to the white southerners. Black codes also affect us today. If black codes were never enforced during reconstruction, black people would have been able to be a part of the government much sooner than they did. They would have been able to vote, marry interracially, work where they wanted, and get an education.
This video raises the viewer’s awareness about issues of positive images for African-Americans on television. I chose this video because it raised my awareness by questioning the difference between positive role models, such as The Cosby Show, and positive images for all African-Americans. The issues discussed and comments made by the cast piqued my interest and helped change my perspective on the history of African-American representation in the media, especially in the realm of television. Color Adjustment contains more than just endless ‘talking heads’ – it has elements of fact, history, and professional opinion all blended together in an engaging format. It was extremely exciting to hear the TV producers like Hal Kanter and David Wolper talk about their own productions in retrospect.