Hispanics, Asians, and African-Americans in Hollywood Movies
Writers and directors are two of the most important positions playing decisive roles in successful movies. While writers are responsible for writing the script, directors are in control of the whole production of a movie including casting actors, choosing costumes, and adjusting the script to suit characters’ personalities and the plot. Thus, writers and directors have powerful influence over who will be chosen to be actors, what will be presented in movies, and how it will be presented. Seven yearly reports from 2007 to 2014 of researchers at the University of Southern California showed that across 700 films and 30,835 characters, nearly 75% of the characters were white (Smith et
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The fact is that Black, Asian, Latino, Middle Eastern, and others racial groups only make up approximately 25% of characters. Not only in film casting, racial stereotypes have also been presented via the appearance of characters. Hollywood writers and directors should have a social responsibility to avoid stereotyping ethnic characters due to the unequal employment opportunity and misrepresentation of Hispanics, Asians, and African-Americans in Hollywood movies.
Audiences supporting American movies may say that what is portrayed in films is the reflection of reality because it is hard to ask for the audience’s engagement if they are not able to share the same feelings with the characters; however, the writers and directors in Hollywood should have more responsibility to avoid misrepresentation of Hispanics in their movies. One of the stereotypical movies is Spanglish, a comedy drama movie released in 2004 by James Brooks. In
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It is not easy for African-Americans to be elected in a casting. Like yellowface, blackface use makeup to transform Caucasian to Black. In Tropic Thunder, a 2008 action movie, Ben Stiller casts Robert Downey, Jr. as a black man. Brandon Jackson stated that Tropic Thunder was “a way of exploiting black stereotypes” (“ 'Tropic Thunder ' Pushes Envelope and Then Some”). Jackson admits the occurrence of stereotyping ethnic characters in Hollywood film industry. According to a study at the University of Southern California, the findings illustrate that the diversity in Hollywood movies remains unchanged; African-Americans made up 13% in 2007, and 12.5% in 2014 of all characters of 100 top films in each year (Smith et al. 2). They assert that film directors made no progress to fix the diversity in casting and racial issues. In other words, they still maintain the ethnic stereotypes. Because of that, there is strong belief that Hollywood filmmakers should have more social responsibility to avoid black
African American representation in the film industry has always been a topic for discussion. Whether talking about character types and roles, the actors being cast or not cast, and the lack of diversity in front of and behind the camera. ‘The contemporary status of race in mainstream American culture is intimately bound to the process of representation within and through the mass media.’ (Rocchio, 2000, p. 4). Any role that was to be played by an African American kept in with the dominant stereotypes of the time of production; incompetent, child like, hyper-sexualised or criminal.
Back in the 1800’s, when calculating the population, African Americans were counted as 3/5 of a person (Antonia, p2). One would think that in the past two hundred years people’s beliefs would have changed a little bit, but the general white public are stuck into believing the common stereotypes commonly portrayed in movies. In films and television shows blacks are almost always portrayed as murderers, robbers, rapists, pretty much anything negative, like American History X, for example. Two black men are shown breaking into a white man’s car. People see this, and in turn believe that all black men will try and steal their car; as stupid as it may seem, it is true, and as a result, film producers try to incorporate this into their films. Very rarely, if ever, is it possible to see a minority depicted as a hero-type figure. Every once in a while, there will be an independent film from a minority director, but as Schultz states in Lyon’s piece, “We [blacks] are still being ghettoized in Hollywood, a serious black project of any scope is as difficult to get marketed today as it was in the ‘70s.” By making a barrier to entry for minorities in the film industry, it’s almost as if America is trying to keep black films out of the popular media. At first glimpse, it may appear that minorities are very hard to be seen in the filming industry, when in reality, they are becoming more and more apparent in America’s mainstream media culture, particularly in action movies.
...writers of all races and every ethnicity could be shown this video to learn about stereotypes to avoid in their screenplays. Television and movie producers could benefit from hearing other producers such as Hal Kanter and David Wolper talk about their experiences with African-American representation in their shows.
Latino portrayals in the media of theatre and movies have had negative affects for the Latino community but there are roles that are slowly becoming positive for their community. Not only have Latinos been portrayed negatively through stereotypes but they have also been ignored from American Media. When Latinos are actually present in different forms of media a very consistent type of Latino is portrayed. The words Hispanic and Latino already come with an image of that specific person who has dark features and an accent. When it comes to stereotyping Latinos in the media whether it be Hollywood or Broadway they tend to translate everything negatively through the roles they play. The audiences’ lack of understanding different Latino cultures allows the media to manipulate and reinforce myths on Latino communities. Rita Moreno from the film West Side Story had to overcome many stereotypes in order to achieve her fame. "Before 'West Side Story,' I was always offered the stereotypical Latina roles. The Conchitas and Lolita’s in westerns. I was always barefoot. It was humiliating, embarrassing stuff. But I did it because there was nothing else. After 'West Side Story,' it was pretty much the same thing. A lot of gang stories”
This is a trait that was seen in the research we did class, this ongoing trait was seen in both television shows and movies. In this case it is movies, the superheroes that do not have have the main roles, for example the Avengers. The Avengers consist of Iron Man, Thor, The Hulk, Captain America, Black Widow, Hawkeye. These characters are all white and they all have main roles, even there own movies. When there is an action seen in a movie these characters are on the main front. The one character I left out was Nick Fury, The head of the Avengers, he is black. Even though he is in charge of the Avengers he does not have even close to the amount of screen time compared to the main six members. Also everyone besides Hawkeye, Black Widow and Nick Fury have their own movies. Another problem at
Andre, Judith. “Stereotypes: Conceptual and Normative Considerations.” Multicultural Film: An Anthology. Spring/Summer 2014. Eds. Kathryn Karrh Cashin and Lauren Martilli. Boston, MA: Pearson, 2013.
(4) Conventional is easy. Whenever an idea is generally perceived by society as standard or traditional it becomes very easy to display to the public without the raise of an eyebrow. This is the basis on which stereotypes appear in films. You’d think in the 21st century where what once were radical notions like same sex marriage and recreational drug use are being legalized that something uncalled for like the constant portrayal of character stereotyping would come to an end. Alas, stereotypical characters continue to emerge in film and unfortunately have become a staple of Hollywood because they’re simple and straightforward, requiring little effort on the part of the writers or thinking from the audience.
In today’s society, pre-existing assumptions and stereotypes of other ethnicities and individuals play a large part in the way we see others. This social construct of stereotypes has placed restrictions on many people’s lives which ultimately limits them from achieving certain goals. In this sense, stereotypes misrepresent and restrict people of colour to gain casting within the Hollywood film industry. The issue of how casting actors to certain roles and how these actors are forced to submit and represent these false stereotypes is one worthy of discussion. White Chicks (2004), directed by Keenan Wayans, illustrates this issue through the performance of Latrell, performed by Terry Crews, and his performance of the hyper-sexualised “buck” will be a prime example in this essay to discuss the racial politics and stereotypes in Hollywood casting.
To begin, racial or ethnic stereotypes on certain television programs provide false information about groups of people. The characters illustrated in these programs are formed by what writers believe. When a show is created, the writers take the basic features of a character and expand based on what they think viewers will enjoy. Yet these creations can be biased due to how hard the writer is willing to work.
In addition, due to negative feelings about Asian Americans prevalent in American culture, Hollywood’s attempt to expand its target audiences is constrained, and despite the increasing market values of Asian Americans, Hollywood is possibly unwilling to portray successful Asian characters for fear of provoking its mainstream audiences who hold prejudice against Asians. There is a dominant white preference over the effects certain stereotypes may have on Asians and Asian Americans (Park, 2005).
Hollywood’s diversity problem is well-known; however, the extent might be surprising to most Americans. According to a 2014 report by the Center for the Study of Women in Television, Film & New Media, found that females comprised only 30% of all speaking characters among the top grossing films of 2013. (Lauzen, 2014) However, minority women faired far worse than their Caucasian counterparts. As a matter of fact, if one looks at the numbers even female characters from other world’s were as better represented in film than some minority women; the numbers are as follow for women: Caucasian (73%), African American (14%), Latina (5%), Asian and other world tied (3%). (Lauzen, 2014) If the lack of representation were not enough consider a 2009 study which found that when minority groups are portrayed on television the portrayal tends to be negative. (Alexandrin, 2009) A study by Busselle and Crandall (2009) found that the manner in which African-Americans are portrayed, often as unemployed criminals, tends to have an influence on the way the public perceives African-American’s lack of economic success. Furthermore, the news media does an equally poor job in the ways that African-American’s are presented; according to the same study while 27% of Americans were considered “poor” in 1996 the images of America’s “poor” being presented by news media was heavily Black (63%). (Busselle & Crandall, 2002) Today, this can be seen in the way that African-American victims of police brutality are depicted in the media. Even when African-Americans are murdered at the hands of police for minor and non-violent offenses (e.g. Mike Brown, Eric Gardner, and Tamir Rice) they are often portrayed as thugs, criminals, and vandals. What’s more, seve...
Often racial injustice goes unnoticed. Television tries to influence the mind of their viewers that blacks and whites get along by putting them on the screen to act as if interracial relationships has been accepted or existent. “At the movies these days, questions about racial injustice have been amicably resolved (Harper,1995). Demott stresses that the entertainment industry put forth much effort to persuade their audience that African Americans and Caucasians are interacting and forming friendships with one another that is ideal enough for them to die for one another. In the text, Demott states “A moment later he charges the black with being a racist--with not liking whites as much as the white man likes blacks--and the two talk frankly about their racial prejudices. Near the end of the film, the men have grown so close that each volunteer to die for the other” (Harper,1995). Film after film exposes a deeper connection amongst different races. In the text, Demott states “Day after day the nation 's corporate ministries of culture churn out images of racial harmony” (Harper, 1995). Time and time again movies and television shows bring forth characters to prove to the world that racial injustice has passed on and justice is now received. Though on-screen moments are noticed by many people in the world it does not mean that a writer/ director has done their
Those who deny the existence of the racism rooted into modern day Hollywood are far from reality. They may think that in the United States we are getting closer to equality when it comes to casting but we in fact are not. While there is the belief that America has progressed when it comes to social issues, the percentage of roles held by black actors in film and TV has dropped from 15 to 13 percent from the early 2000’s to 2011 (McClintock and Apello 2).
Since the first influx of Asian immigrants to the United States, Asian Americans were never treated as an integral part of the American population. Accounting for five percent of the US demographic, often times, they are still portrayed by provincial people as outsiders who do not belong in society. Over the years, this negative mentality has transformed into the way Asian Americans are viewed in media. Though there are many attempts of reversing the trend such as diversifying the cast members, stereotypical personalities such as “the human calculator” or “undesirable partner” are still utilized for writers to infuse racial slurs into comedy skits. However, in reality especially now that many Asian Americans are second generation, none of these stereotypes pertains to all them. As a result, directors and script writers have an ethical responsibility to best portray Asian Americans as human beings who can function normally without putting negative stereotypes as the primary focus of Asian characters’ personas.
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...