The Representation of Minorities in American Cinema
As the semester progressed and we continued learning how Latinos have been misrepresented through American cinema during the twentieth century, I began to wonder about my own heritage and how Jews were portrayed in films of the same era. I grew up learning about the various stereotypes that have been associated with Jews throughout history, but never have I explored the portrayals of Jews through film history in the United States. My curiosity led me to research Hollywood’s image of the Jew, providing me with a better understanding of the role Jews and Jewish family life have played in American Cinema from the very beginnings of film history. I was able to relate the facts about the representation of Jews in the media to what we have studied this semester about the representation of Latinos and Latinas.
Although in class we focused on the portrayals of different Latin American cultures in American film, we must realize that other minorities, social classes, and ethnic groups were mistreated by cinema as well. As Keller states, "One of the side effects of American cinema was often crushingly brutal portrayals of other races and cultures, depictions that spread to larger audiences than ever before possible around the nation and even around the globe" (Keller, 5). Overall, the American film industry felt it necessary to depict all characters but the dominant Anglo in a negative light. "In short", Keller explains, "white Americans believed in the superiority of the white race and depicted this superiority on the silver screen. Every other race was evaluated in relationship to the attainments of the white race and with respect to its approximation to the white race whic...
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The Mark of Zorro. Produced by United Artists and Douglas Fairbanks Productions; directed by Fred Niblo, 1920.
Cortes, Carlos E. "Chicanas in Film: History of an Image". Rodriguez, Clara E. Latin Looks. Boulder, CO: Westview Press, 1998. Pp.121-139
Flying Down to Rio. Directed by Herbert Brenon. Produced by Louis Zarecky, 1932.
All Movie Guide, Dolores Del Rio.
http://www.allmovie.com/cg/x.exe?p=avg&sql=bp18330
Mexican Spitfire. Directed by Leslie Goodwins. Produced by Cliff Reid, 1939.
Erens, Patricia. The Jew in American Cinema. Bloomington: Indiana University Press, 1984.
Friedman, Lester D. Hollywood's Image of the Jew. New York: Frederick Ungar Publishing Co., 1982.
Hangin' With the Homeboys. Directed by Joseph Vasquez, 1991.
West Side Story. Directed by Jerome Robbins and Robert Wise, 1961.
Birth of a Nation was a film that broke several artistic boundaries in the film industry yet was seen as the most racist film of any generation. This has caused it to be a film under heavy debate since its release in 1915. One can never look past the racist depictions that this film portrays in it. However, to truly understand the film and explore its importance in the study of minorities in film, one must look at this film from all perspectives.
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.
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
For many years, African Americans have faced the challenge of being accurately and positively portrayed within mainstream media, such as American made films. They are often represented as people who are inferior to those of the Caucasian race, and are frequently presented with problems that are related to racial discrimination. The portrayal of African Americans in media such as movies has often been considered a large contributing factor to the racial tensions that still exist in our world today (Lemons, 1977). The movie, To Kill a Mockingbird, sheds light on the portrayal of African Americans in movies, and how stereotypes can greatly impact the lives of those who are not of the Caucasian race.
Woll, Allen L and Randall M Miller. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. n.d. Print.
Abstract My research focused on the coverage of Asian Americans in contemporary mass media. The following types of media were researched. Music Television Films Magazines I gave several examples where Asian Americans used to play very simple characters. These roles were defined by stereotypes that exist in America.
The number of Asian American communities is growing in the U.S. population, however, these groups of people are often marginalized and misrepresented in mainstream media. In today’s mainstream media, there is a visible lack of Asian American representation on film. Asian actors, when given roles in film and television, are rarely cast for central roles and form about only 3% of prime-time characters (Ramasubramanian, 2011). Not only is the number for casting Asian and Asian Americans low, the roles of these characters are often portrayed in the stereotypical ideology which has been present for decades. But why are Asians portrayed the way they are? Why has Hollywood maintained its representational practices when it comes to the portraying Asians? Why do these portrayals persist in the presence of a growing Asian population and racial diversity? What is the significance of the Asian American segment for Hollywood? To what extent does the consideration of the Asian American market influence the way Hollywood portray Asians? These are the questions that surface when watching films, and in the lens of an Asian American, many Asians and Asian American do not fit the mold created by Hollywood. First, I will introduce the range of common film representation of Asians. This literature review will focus on the negative and positive light of Asian representation , the structure of Hollywood film industry and its effect on representing Asian race, the social acceptance of Asian stereotypes, and Asian American’s social identity theories.
Berg, Charles Ramírez. "A Crash Course on Hollywood's Latino Imagery." Latino images in film stereotypes, subversion, resistance. Austin, TX: University of Texas Press, 2002. 66-86. Print.
...ent from the silent era of film, overt racism of ethnic minorities was blatantly apparent within the film medium. However, presently this overt racism however has shifted into a more subtle segregation of casting and racial politics within the film medium. It seems that both the problem and the solution lies in the Eurocentric domination within the Hollywood film industry – and it seems that it still remains challenged to this day.
First, the old man receives outer success by earning the respect and appreciation of the boy and the other fishermen. The boy is speaking to the old man in his shack after the old man’s long journey, “You must get well fast for there is much that I can learn and you can teach me everything” (Hemmingway 126). The boy appreciates the fact that the old man spends time to teach him about fishing. He respects him a great deal for he knows that the old man is very wise and is a magnificent fisherman. The fellow fishermen also show respect towards the old man as they note the size of the fish after the old man returns home, “What a fish it was, there has never been such a fish” (123). The men admire the fact that the old man has caught the biggest fish that they have seen. Many fishermen resented Santiago at first, however their opinion changed once they realized what the old man has gone through. Being admired by others plays a major role in improving one’s morale.
In The Old Man and the Sea, Santiago, an old Cuban fisherman, pits his strength against forces he cannot control. We learn from Santiago's struggles how to face insurmountable odds with bravery and courage. Though we find an indifferent and hostile universe as Santiago's stage, his unwillingness to give in to these forces demonstrate a reverence for life's struggles. Santiago's struggle is for dignity and meaning in the face of insurmountable odds. His warrior-like spirit fights off the sharks full-well knowing the fate of his marlin. Santiago loses his marlin in the end, but his struggle to keep it represent a victory because of the dignity and heroism with which he carries out his mission. However, as Santiago acknowledges, he is almost sorry he caught the marlin because he knows the animal and he have a great deal in common as fellow beings in nature. However, he only caught the marlin "through trickery" (Hemingway 99). Santi...
In the story Santiago’s bravery is unsurpassed but it is not until he hooks the “great fish” that we truly see his valor and perseverance. Through Santiago’s actions Hemingway teaches the reader about bravery and perseverance in the face of adversity. He demonstrates that even when all is lost and seems hopeless a willful heart and faith will overcome anything. Santiago had lost his “luckiness” and therefore the respect of his village. Through the description of his cabin we also suspect that Santiago is a widower. Although Santiago has had many troubles he perseveres. He has faith in Manolin, in the Yankees, in Joe DiMaggio, and most importantly in himself.
... minds of many with the great strength and patience: the passion that Santiago has for life, for nature, and for the harsh judgement of fellow fisherman.
Over the last century, information technology, such as the Internet, has brought our society forward and helps us get through life more efficiently and conveniently. In addition, it helps making global communication easier and faster as compared to hand-written mails that may take days if not weeks to reach its intended recipient. However, with such luxury and convenience, there is a debate whether the way we currently interact with fellow human beings with the help of technology is good or bad to our personal relationships. The Internet has increased the amount of communication globally, yet ironically the very technology that helps us increase our communication hinders our ability to socialize effectively in real life and create a healthy interpersonal relationship.
“We barely have time to pause and reflect these days on how far communicating through technology has progressed. Without even taking a deep breath, we’ve transitioned from email to chat to blogs to social networks and more recently to twitter” (Alan 2007). Communicating with technology has changed in many different ways. We usually “get in touch” with people through technology rather than speaking with them face to face. The most popular way people discuss things, with another individual, is through our phones. Phones have been around way before I was born in 1996, but throughout the years, they have developed a phone called a “smart phone”. The smart phone has all kinds of new things that we can use to socialize with our peers. On these new phones, we can connect with our friends or family on social networking sites such as Facebook, Twitter, and Instagram. Technology has also developed Skype, a place you can talk with people on the computer with instant voice and video for hours. The new communication changes have changed drastically from the new advances made in technology through our smart phones, social networking sites, and Skype.