On Whiteness As Property and Racial Performance As Political Speech
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The Transition of Black One-Dimensional Characters from Film to Video Games
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 2016 The ewN Black Face: The rT ansition of Black One- Dimensional Characters from Film to Video Games Kyle A. Harris Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Harris, Kyle A. "The eN w Black Face: The rT ansition of Black One-Dimensional Characters from Film to Video Games." (Spring 2016). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris B.A., Southern Illinois University, 2013 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Department of Mass Communications and Media Arts in the Graduate School Southern Illinois University Carbondale May 2016 RESEARCH PAPER APPROVAL THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media, Media Management Approved by: Dr. William Novotny Lawrence Department of Mass Communications and Media Arts In the Graduate School Southern Illinois University Carbondale -
Mammy Figure
Mammy: A Century of Race, Gender, and Southern Memory Kimberly Wallace-Sanders http://www.press.umich.edu/titleDetailDesc.do?id=170676 The University of Michigan Press INTRODUCTION The “Mammi‹cation” of the Nation: Mammy and the American Imagination Nostalgia is best de‹ned as a yearning for that which we know we have destroyed. —david blight The various incarnations of the mammy ‹gure have had a profound in›uence on American culture. There is virtually no medium that has not paid homage to the mammy in some form or another. In his series “Ameri- can Myths,”for example, artist Andy Warhol included both the mammy and Aunt Jemima, along with Howdy Doody, Uncle Sam, Dracula, and the Wicked Witch of the West (‹gs. 1 and 2).1 In the late 1980s, Italian pho- tographer Olivero Toscani created an advertisement for Benetton featuring a close-up of a white infant nursing at the breast of a headless, dark- skinned black woman wearing a red Shetland sweater (‹g. 3). The adver- tisement was met with unbridled criticism from African Americans, yet it won more advertising awards than any other image in Benetton’s advertis- ing history.2 Today, tourists visiting Lancaster, Kentucky, can tour the for- mer slave plantation of Governor William Owsley, ironically called Pleas- ant Retreat. The restored home features many remnants of the Old South, including a “charming mammy bench,” a combination rocking chair and cradle designed to allow mammies to nurse an infant and rock an additional baby at the same time.3 Diminutive mammy “nipple dolls” made in the 1920s from rubber bottle nipples with tiny white baby dolls cradled in their arms are both a “well-kept secret”and an excellent investment by collectors of southern Americana (‹g. -
Names in Toni Morrison's Novels: Connections
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality or this reproduction is dependent upon the quaUty or the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A. Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml48106·1346 USA 313!761·4700 8001521·0600 .. -------------------- ----- Order Number 9520522 Names in Toni Morrison's novels: Connections Clayton, Jane Burris, Ph.D. The University of North Carolina at Greensboro, 1994 Copyright @1994 by Clayton, Jane Burris. -
The Making of a Racist
2 The Making of a Racist My favorite children’s book when I was growing up was entitled Ezekiel, written by a white Floridian named Elvira Garner. This slender volume was published in New York by Henry Holt and Company in 1937, the year I was born (Canadian distribution was by Oxford University Press). The first story in the book opens this way: “Away down in Sanford, Florida dar lives a lil’ cullerd boy, an’ he names Ezekiel. An’ dis boy he live wid he Pappy an’ he Mammy an’ he Sister Emancipation, an’ he brudder Lil’ Plural an’ Assa- fetida, de baby.” I took endless delight in Ezekiel’s adventures on “de St. John’s Ribber,” as he caught a “big ole cat- fish” in this opening story, un- successfully looked for work on a steamboat (“Lil’ nigger boy, you too small,” the “Cap’n” told him), but, through persistence and politeness, landed a job for “he Pappy” on the self-same vessel, “a- rollin’ an’ a- totin’ an’ a- draggin’ things onto ole freight boat.” This opening chapter, like all of the six stories in the book, is illustrated by the author’s watercolor drawings of stick figures with coal black faces acting out passages in the text, such as Eze- kiel “got lil’ ole fishin’ pole outen de shed,” while “Emancipation went ’long pullin’ de baby in lil’ ole cyart” and “Lil’ Plural toten’ de bait can.” Each chapter— each individual story— also ends with a four- line song, also in dialect, such as this one at the end of chapter 1: 33 the making of a racist Ole ribber run norf, an don’ run souf. -
An Analysis of the Media Portrayals of Single Black Women Breonna Tindall
Ursidae: The Undergraduate Research Journal at the University of Northern Colorado Volume 2 Article 9 Number 2 McNair Special Issue January 2012 Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black Women BreOnna Tindall Follow this and additional works at: http://digscholarship.unco.edu/urj Part of the Social and Behavioral Sciences Commons Recommended Citation Tindall, BreOnna (2012) "Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black Women," Ursidae: The Undergraduate Research Journal at the University of Northern Colorado: Vol. 2 : No. 2 , Article 9. Available at: http://digscholarship.unco.edu/urj/vol2/iss2/9 This Article is brought to you for free and open access by Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Ursidae: The ndeU rgraduate Research Journal at the University of Northern Colorado by an authorized editor of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Tindall: Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black WomenWhere is the Black Barbie? Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black Women BreOnna Tindall Mentor: Patricia Jolly, M.A., Anthropology Abstract: This study focuses on the messages that Black women receive about singleness and their ability to maintain a healthy relationship with a Black man from movies that are distributed by mainstream media outlets as well as the implications those messages have on formation of potential relationships. This project analyzes the depictions of Black women in two blockbuster movies and explicates the messages of each character. -
There Are Eight Million Stories in My Albums. This Is One of Them... Coon Chicken Inn Was an American Chain of Four Restaurants
There are eight million stories in my albums. This is one of them... Coon Chicken Inn was an American chain of four restaurants founded by Maxon Lester Graham and Adelaide Burt in 1925, which prospered until the late 1950s. The restaurant's name uses an ethnic slur, and the trademarks and entrances of the restaurants were designed to look like a smiling blackface caricature of an African-American porter. The smiling capped porter head also appeared on menus, dishes, and promotional items. African Americans opposed this blatant display of racism. In 1930, the Seattle branch of the National Association for the Advancement for Colored People (NAACP) and Seattle’s African American newspaper The Northwest Enterprise protested the opening of the local Coon Chicken Inn by threatening Graham with a lawsuit for libel and defamation of race. In response, Graham agreed to change the style of advertising by removing the word ‘Coon’ from the restaurant’s delivery car, repainting the ‘Coon head’ entrance to the restaurant, and canceling an order of 1,000 automobile tire covers. This small stride, however, was not enough to fully erase the image of the caricature from Seattle. Graham violated his agreement with the NAACP but managed to evade the lawsuit by changing the color of the Coon logo from black to blue. The first Coon Chicken Inn was opened in suburban Salt Lake City, Utah in 1925. In 1929, another restaurant was opened in then-suburban Lake City, Seattle, and a third was opened in the Hollywood District of Portland, Oregon, in 1931. A fourth location was advertised but never opened in Spokane, Washington. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
THE POLITICAL CRITIQUE of SPIKE Lee's Bamboozled
35 GLOBAL JOURNAL OF HUMANITIES VOL 8, NO. 1&2, 2009: 35-44 COPYRIGHT© BACHUDO SCIENCE CO. LTD PRINTED IN NIGERIA. ISSN 1596-6232 www.globaljournalseries.com ; [email protected] LEGACIES OF BLACKFACE MINSTRELSY AND CONTEMPORARY AMERICAN MEDIA: THE POLITICAL CRITIQUE OF SPIKE Lee’s Bamboozled PATRICK NKANG, JOE KING AND PAUL UGO (Received 24, August 2010; Revision Accepted 3, September 2010) ABSTRACT This paper examines the extraordinary ways in which the America mainstream visual media have propagated and circulated racist myths which subvert the cultural identity of the black race. Using Spike Lee’s Bamboozled , the paper exposes the negative social stereotypes espoused by American entertainment media about blacks, and argues that Spike Lee’s film not only unravels that subversive Euro-American rhetoric, but also doubles as an intense social critique of that warped cultural dynamic. KEYWORDS: Blackface Minstrelsy, Racist Stereotypes and American Media. INTRODUCTION Because slavery is the illuminating insight on this aspect of cinema in the founding historical relationship between black United States when he declares that “the fact that and white in America many will argue, lingers film has been the most potent vehicle of in subterranean form to this day (Guerrero 1993: American imagination suggests all the more 03). strongly that movies have something to tell us about the mysteries of American life” (xii). Film and the African-American Image American films then have a deep historical link with its social environment, providing us the As a form of social expression, the film medium profoundest social transcripts about American embodies significantly staggering amounts of society than historians, economists and other social truths . -
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Jack HARBORD School of Arts and Media University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, June 2015 Table of Contents List of Figures iii Acknowledgements vii Abstract viii Introduction 1 1. Literature Review of Minstrelsy Studies 7 2. Terminology and Key Concepts 20 3. Source Materials 27 4. Methodology 39 5. Showing Blackface 5.1. Introduction 58 5. 2. Change the Joke: Blackface in Satire, Parody, and Irony 59 5. 3. Killing Blackface: Violence, Death, and Injury 95 5. 4. Showing Process: Burnt Cork Ritual, Application, and Removal 106 5. 5. Framing Blackface: Mise-en-Abyme and Critical Distance 134 5. 6. When Private goes Public: Blackface in Social Contexts 144 6. Talking Blackface 6. 1. Introduction 158 6. 2. The Discourse of Blackface Equivalency 161 6. 3. A Case Study in Blackface Equivalency: Iggy Azalea 187 6. 4. Blackface Equivalency in Non-African American Cultural Contexts 194 6. 5. Minstrel Show Rap: Three Case Studies 207 i Conclusions: Findings in Contemporary Context 230 References 242 ii List of Figures Figure 1 – Downey Jr. playing Lazarus playing Osiris 30 Figure 2 – Blackface characters in Mantan: The New Millennium Minstrel Show 64 Figure 3 – Mantan: Cotton plantation/watermelon patch 64 Figure 4 – Mantan: chicken coup 64 Figure 5 – Pierre Delacroix surrounded by African American caricature memorabilia 65 Figure 6 – Silverman and Eugene on return to café in ‘Face -
Annalise Keating's Portrayal As a Black Attorney Is the Real Scandal
UCLA National Black Law Journal Title Annalise Keating's Portrayal as a Black Attorney is the Real Scandal: Examining How the Use of Stereotypical Depictions of Black Women can Lead to the Formation of Implicit Biases Permalink https://escholarship.org/uc/item/6wd3d4gk Journal National Black Law Journal, 27(1) ISSN 0896-0194 Author Toms-Anthony, Shamar Publication Date 2018 Peer reviewed eScholarship.org Powered by the California Digital Library University of California ANNALISE KEATING’S PORTRAYAL AS A BLACK ATTORNEY IS THE REAL SCANDAL: Examining How the Use of Stereotypical Depictions of Black Women Can Lead to the Formation of Implicit Biases Shamar Toms-Anthony* Abstract Law firms are struggling to increase the representation and retention of Black women, and Black women have reported feeling excluded, invisible, and a lack of support within law firms. In this Comment, I posit that ABC’s hit show “How to Get Away with Murder” over relies on traditional negative stereotypes about Black women. Annalise Keating, the show’s lead character, conforms to the stereotypes of the Jezebel, the Mammy, and the Angry Black Woman. Fur- ther, Keating’s representation as a Black female attorney is uniquely significant because historically Black women have done very little lawyering on the television screen. Thus, Keating’s representation as a Black female attorney on a show that has garnered upwards of twenty million viewers in a single episode is extremely influential, as it can have the effect of shaping audiences’ perceptions about Black women in the legal profession. As a result, I argue that the show’s negative depic- tion of Keating as a Black female attorney can lead to the formation of implicit biases about Black female attorneys, and may contribute to why Black women are having a difficult time excelling in law firms, which are 92.75 percent White. -
Valeriusdaphne.Pdf (3.325Mb)
DO BLACK MEN REALLY LOVE BLACK WOMEN? A QUALITATIVE STUDY ON HOW MASS MEDIA SHAPE BLACK MEN’S PERCEPTION OF BLACK WOMEN FOR LONG-TERM ROMANTIC RELATIONSHIP – OR NOT _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by DAPHNE S. VALERIUS Elizabeth Behm-Morawitz, Ph.D., Dissertation Chair MAY 2021 The undersigned, appointed by the Dean of the Graduate School, have examined the dissertation entitled DO BLACK MEN REALLY LOVE BLACK WOMEN? A QUALIATIVE STUDY ON HOW MASS MEDIA SHAPE BLACK MEN’S PERCEPTION OF BLACK WOMEN FOR LONG-TERM ROMANTIC RELATIONSHIP – OR NOT Presented by Daphne S. Valerius A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. _______________________________________________________ Elizabeth Behm-Morawitz, Ph.D. _______________________________________________________ Julius M. Riles, Ph.D. _______________________________________________________ Yong Z. Volz, Ph.D. _______________________________________________________ Cynthia M. Frisby, Ph.D. DEDICATION In loving memory of Dr. Lez Edmond, Uncle Melex Regis and Ton Ton Gerald Cherubin, as your legacy I hope my work continues to make you proud. To the voices and the truth of Black men, as a Black woman I hear you. ACKNOWLEDGEMENTS First and foremost, above everything I would like thank my Heavenly Father and Savior Jesus Christ of Nazareth for guiding my footsteps and placing me on this journey and assignment. You have been the source of my strength and the wind beneath my wings in all that I have done to get to this place. -
Deconstructing Negative Stereotypes, Myths
National Louis University Digital Commons@NLU Dissertations 6-2018 Deconstructing Negative Stereotypes, Myths And Microaggressions About Black Women: Reconstructing Black Women’s Narrative, Identity And The mpE owering Nature Of Ethnic Identity Patricia Luckoo National Louis University Follow this and additional works at: https://digitalcommons.nl.edu/diss Part of the Community Psychology Commons Recommended Citation Luckoo, Patricia, "Deconstructing Negative Stereotypes, Myths And Microaggressions About Black Women: Reconstructing Black Women’s Narrative, Identity And The mpoE wering Nature Of Ethnic Identity" (2018). Dissertations. 319. https://digitalcommons.nl.edu/diss/319 This Dissertation - Public Access is brought to you for free and open access by Digital Commons@NLU. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons@NLU. For more information, please contact [email protected]. 1 Running Head: Deconstructing Negative Stereotypes, Myths and Microaggressions About Black Women and the Empowering Nature of Ethnic Identity NATIONAL LOUIS UNIVERSITY DECONSTRUCTING NEGATIVE STEREOTYPES, MYTHS AND MICROAGGRESSIONS ABOUT BLACK WOMEN: RECONSTRUCTING BLACK WOMEN’S NARRATIVE, IDENTITY, AND THE EMPOWERING NATURE OF ETHNIC IDENTITY A DISSERTATION PROPOSAL SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY COMMUNITY PSYCHOLOGY DOCTORAL PROGRAM IN THE COLLEGE OF ARTS AND SCIENCE By PATRICIA R. LUCKOO Chicago, Illinois, June 2018