Is stereotyping a necessity in film making? 12-10-13
Stereotypes are essential in filmmaking. However it can be seen as derogatory due to these preconceptions originated from outdated cultural practices and traditions. American Slavery 1680-1865 fostered inequality through what it seems the fear of ‘Otherness’.
Donald Bogle believes ‘all were character types used for the same effect: to entertain by stressing Negro inferiority. Fun was poked at the American Negro by presenting him as either a nitwit or a childlike lackey. None of these was meant to do great harm, although at various times individual ones did. All were merely filmic reproductions of black stereotypes that had existed since the days of slavery and were already popularized in the American life and arts.’ This has proven detrimental when analysing black stereotypes today, as they have been further adaptations from their old familiar stereotypes, often further distorting them, making traditional film criticism not useful in reading black film.
Here are a few examples:
Stereotypes are essential in filmmaking. However it can be seen as derogatory due to these preconceptions originated from outdated cultural practices and traditions. American Slavery 1680-1865 fostered inequality through what it seems the fear of ‘Otherness’.
Donald Bogle believes ‘all were character types used for the same effect: to entertain by stressing Negro inferiority. Fun was poked at the American Negro by presenting him as either a nitwit or a childlike lackey. None of these was meant to do great harm, although at various times individual ones did. All were merely filmic reproductions of black stereotypes that had existed since the days of slavery and were already popularized in the American life and arts.’ This has proven detrimental when analysing black stereotypes today, as they have been further adaptations from their old familiar stereotypes, often further distorting them, making traditional film criticism not useful in reading black film.
Here are a few examples:
Uncle Tom –
Also referred as ‘Happy Clarky’ was first in a long line of socially acceptable good Negro characters, often chased, hounded, enslaved and insulted, yet he remains hearty, submissive and selfless. 
Mammies –
Are closely linked with the coon, vis-à-vis she is relegated to their ranks, ‘white people created an image of black womanhood which they could tolerate that in no way resembled the great majority of black women. […] Considering white male lust for the bodies of black females, it is likely that white women were not pleased with young black women working in their homes […] so they conjured up an image of the ideal black nanny. She was first and foremost asexual and consequently she had to be fat (preferably obese); she also had to give the impression of not being clean so she was the wearer of a greasy dirty headrag. […] Her greatest virtue was of course her love for the white folk whom she willingly and passively served. (Gutman, in hooks, 1982, p.84) |
Trickster –
Known primarily for his ‘Gift-of-the-Gab’, demonstrating the ability to manipulate situations for the best possible outcome. A witty character with high comedic values and a somewhat crafty attitude he is loved by many. 
Jezebel –
A highly desirable women by both white and black men, she uses her sexuality to gain control of situations. This would be a good example of fetishization as her body, and lips are center of attention on screen. |
The sapphire –
Can be distinguished through her fierce independence, using violence if her charm fails her, male characters may find her emasculating as she often carries a weapon. |
Gangster – Ruthless, intimidating with obvious iconography like tattoos and jewelry, he is the leader of the gang which can be closely linked too drugs and other means of generating profit by any means necessary. |
The Athlete –
Often highly talented and motivated to be the best they can be regardless of the sport, these black men tend to have great physical attributes. |
Buck –
Can also be described as a brute, and is portrayed as a savage of a man he is usually well built and aggressive, violent and yet again simple. He is supposed to be feared by the white man. |
Tragic Mulattoes –
Typically played by a ‘young mixed race women’, who is assumed to be sad, or even suicidal, because she fails to ‘completely’ fit in the ‘white world’ or the ‘black world’. As such, the "tragic mulatto" is depicted as the victim of the society they live in, a society divided by race. They cannot be classified as one who is completely ‘black’ or ‘white’. |
Coons – Carried comedic values represented as a black buffoon for the amusement of white audiences to make fun at. This character was generally harmless because he was so simple.
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All of the categories above are reoccurring characters throughout black American film, and will continue to do so for many years to come. These stereotypes are crucial for the progression and duration of a film, as the audience must understand their own interpretation and perception of what is being presented to them on screen, through the cultural perspective of others.
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Theorist Stuart Hall, offers an accessible and clarifying analysis of the social construction of race and racial difference. He explores how variations in people's appearances come to be mistaken for essential differences.
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