13/11/13 BLOG: Inappropriate Appropriation
There has been great controversy and growing underlying tensions particularly amongst the African American community and its representations within the Hollywood industry. Eileen Moore who serves within the California Appellate Court Justice system investigates two of Americas major institutions, unexpectedly she found the Supreme Court which had been criticised repeatedly for being slow and resistant to change, was in fact proven to be more progressive and liberal then Hollywood’s conduct towards black people. “The Brown vs Board of education” is a key example in Moore’s argument demonstrating how in 1954 the Supreme Court called an end to segregation in schools with the judges of the time recognising "today many Negroes have achieved outstanding success in the arts and sciences as well as in the business and professional worlds." Whilst in Hollywood the conventions of blackface lived on unmodified at least into the 1950’s in animated theatrical cartoons, and film black characters were often depicted as unintelligent and inferior.
This was a determination served to reinforce a patriarchal system suited to meet the demands of the elite and to perpetuate white supremacy. Moore further argues that Hollywood when considered as media platform has prolonged racism by influencing negative racial ideologies that have moulded attitudes of today, as Hollywood of the time felt ‘Black Bashing’ was profitable. “When whites use power to perpetuate their cultural heritage and impose it upon others, while at the same time destroying the culture of ethnic minorities” (Gay 33) its safe to say ethnic minorities in America can still viewed as a direct victim of Hollywood and Hollywood as a culturally racist institution.
This raises the question of authenticity and authorship within black film and creates the current and relevant dispute on whether or not white directors should be tolerated to remain directing black themed filmed? As stereotypes put forward by white directors in black films tend to stay faithful to traditional black film stereotypes and narratives, which have been considered as two-dimensional characters. For example Trading places (1983) eddies murphy as a trickster problematizes white appropriation with black culture as there isn’t enough black directors offering a different variation on screen, and contributing to their position within the African American film cannon. |
John Singleton has publically come out to say that white directors are putting pressure on black directors to find employment within the industry specifically with regard to black themed films, with several slave narrative due for released in 2013. Declaring this as a “Troubling trend” because white filmmakers are re creating black stories with few African Americans actually contributing within the filmic process. bell hooks goes further to culturally critique this, warning although films may be marketed as black they in reality ‘white’ as the different factors used to construct a film are dominated occupationally by white people. Steven Spielberg’s The Colour Purple (1985) would be a good example of this as it polarised African American society generally. Within the novel characters are not poor whereas within the film they are shown as lower class something associated typicall with African americans, furthermore male characters represented as predatory. This again conforms to Hollywood’s expectations in American Society. Authorship again comes into play, as Alice walker is a black feminist writer and Quincy Jones is a black musician, considering this there input also collaborates with an all black cast however are these contributions to the film more significant then the directors take when he manipulates what message is interpreted by the audience subliminally. The answer is no, as the film is a reflection of Spielberg’s attitude and style towards the final product bringing forward the question of agency.
The colour purple did not win any academy awards although it was nominated in eight different categories. This caused major upset throughout the African American community enough so, it drew public attention in a protest. It has been alleged that Spielberg had been approached by the academy, which he was disciplined for choosing to undertake a black themed project threatening to tarnish his critically acclaimed reputation. Despite this Spielberg directed Amistad (1997) just ten years later. Yet again Spielberg had produced another amazing film but again hardly any recognition from the academy, the Hollywood industry dictated and only awarded films some critics believe which promoted their ideology only. It can be deemed that directors, actors and writers who reject Hollywood’s principles cannot expect to receive awards for their originality, bravery and ideas. This translates into funding, as without recognition major film corporations are less likely to invest in someone less decorated in terms of awards. This proves to be a catch 22 for black directors, who are aspiring to get that lucky break and re-appropriate pre conceived and out-dated characters in a struggle to challenge the same stereotypes which have been put forward by the industry for around 200 years.
Tarantino has recently caused great controversy with his new film ‘DJANGO: Unchained’ with the excessive use of the word ‘Nigger’ used exactly 113 times. The word has been re-appropriated by blacks as a symbol of pride nevertheless still remains a sensitive subject. In reaction to this Spike Lee to boycotted the film stressing that “American slavery was not a Sergio Spaghetti western. It was a Holocaust. My ancestors are slaves. Stolen from Africa. I will honour them.” In Tarantino’s defence he claims” “If somebody is out there actually saying when it comes to the word n—–, the fact that I was using it in the movie more than it was being used in the antebellum south in Mississippi, then feel free to make that case. But no one’s actually making that case. They are saying I should lie, that I should whitewash, that I should massage, and I never do that when it comes to my characters.” Although the word is used excessively its is used responsibly alongside cartoon violence however when dealing with African American oppression its dealt with seriously throughout various scenes. |
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For the essentialist argument it could be argued that only black people should make black films due to the poor representations put forwards but Hollywood, but this isn’t the case as Thelma and louise is a gender film looking at women whilst the director Ridley scott is male, another example would be Brokeback mountain although it explores themes of homosexuality the director is in fact straight. Although these directors have different physical and psychological differences they are still able to demonstrate great examples of these films.
Bibliography
Moore, E. 2009. Race results. Beverly Hills, CA: Cool Titles.
John Singleton: Can a White Director Make a Great Black Movie? (Guest Column) - 6:00 AM PDT 9/19/2013 by John Singleton
Gay, Geneva “Racism in America; Imperatives for Teaching Ethnic Studies,” Banks,
The colour purple (1985)
Amnistad (1997)
Trading places (1983)
Moore, E. 2009. Race results. Beverly Hills, CA: Cool Titles.
John Singleton: Can a White Director Make a Great Black Movie? (Guest Column) - 6:00 AM PDT 9/19/2013 by John Singleton
Gay, Geneva “Racism in America; Imperatives for Teaching Ethnic Studies,” Banks,
The colour purple (1985)
Amnistad (1997)
Trading places (1983)