The Educated Hustlers and Divas: How Black Youth Use Black Television As a Tool to Communicate While in School
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Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
“IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics -
68Th EMMY® AWARDS NOMINATIONS for Programs Airing June 1, 2015 – May 31, 2016
EMBARGOED UNTIL 8:40AM PT ON JULY 14, 2016 68th EMMY® AWARDS NOMINATIONS For Programs Airing June 1, 2015 – May 31, 2016 Los Angeles, CA, July 14, 2016– Nominations for the 68th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Bruce Rosenblum along with Anthony Anderson from the ABC series black-ish and Lauren Graham from Parenthood and the upcoming Netflix revival, Gilmore Girls. "Television dominates the entertainment conversation and is enjoying the most spectacular run in its history with breakthrough creativity, emerging platforms and dynamic new opportunities for our industry's storytellers," said Rosenblum. “From favorites like Game of Thrones, Veep, and House of Cards to nominations newcomers like black-ish, Master of None, The Americans and Mr. Robot, television has never been more impactful in its storytelling, sheer breadth of series and quality of performances by an incredibly diverse array of talented performers. “The Television Academy is thrilled to once again honor the very best that television has to offer.” This year’s Drama and Comedy Series nominees include first-timers as well as returning programs to the Emmy competition: black-ish and Master of None are new in the Outstanding Comedy Series category, and Mr. Robot and The Americans in the Outstanding Drama Series competition. Additionally, both Veep and Game of Thrones return to vie for their second Emmy in Outstanding Comedy Series and Outstanding Drama Series respectively. While Game of Thrones again tallied the most nominations (23), limited series The People v. O.J. Simpson: American Crime Story and Fargo received 22 nominations and 18 nominations respectively. -
The History of Black Women in Society
University of Washington Tacoma UW Tacoma Digital Commons Gender & Sexuality Studies Student Work Collection School of Interdisciplinary Arts and Sciences Winter 2020 The History of Black Women in Society La Toya A. Love University of Washington Tacoma Follow this and additional works at: https://digitalcommons.tacoma.uw.edu/gender_studies Part of the Gender and Sexuality Commons Recommended Citation Love, La Toya A., "The History of Black Women in Society" (2020). Gender & Sexuality Studies Student Work Collection. 47. https://digitalcommons.tacoma.uw.edu/gender_studies/47 This Undergraduate Presentation is brought to you for free and open access by the School of Interdisciplinary Arts and Sciences at UW Tacoma Digital Commons. It has been accepted for inclusion in Gender & Sexuality Studies Student Work Collection by an authorized administrator of UW Tacoma Digital Commons. T H E S C O O P T H E N E W S L E T T E R A B O U T A N D F O R T H E B L A C K W O M A N January 24 Vol. 1 C O N T E N T A Brief History of Black Women's Role in Society - 2 Black Women in Today's Society - 3 The Future for Black Women- 4 "Black women can do anything. We've proven that time and time again." -Tarana Burke. " They were devalued as human beings, not Black women have come a long way and we considered women; "In America, no less can do anything and indeed have proved that distinguished and learned a figure than Thomas time and time again. -
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. -
The Hollywood Reporter November 2015
Reese Witherspoon (right) with makeup artist Molly R. Stern Photographed by Miller Mobley on Nov. 5 at Studio 1342 in Los Angeles “ A few years ago, I was like, ‘I don’t like these lines on my face,’ and Molly goes, ‘Um, those are smile lines. Don’t feel bad about that,’ ” says Witherspoon. “She makes me feel better about how I look and how I’m changing and makes me feel like aging is beautiful.” Styling by Carol McColgin On Witherspoon: Dries Van Noten top. On Stern: m.r.s. top. Beauty in the eye of the beholder? No, today, beauty is in the eye of the Internet. This, 2015, was the year that beauty went fully social, when A-listers valued their looks according to their “likes” and one Instagram post could connect with millions of followers. Case in point: the Ali MacGraw-esque look created for Kendall Jenner (THR beauty moment No. 9) by hairstylist Jen Atkin. Jenner, 20, landed an Estee Lauder con- tract based partly on her social-media popularity (40.9 million followers on Instagram, 13.3 million on Twitter) as brands slavishly chase the Snapchat generation. Other social-media slam- dunks? Lupita Nyong’o’s fluffy donut bun at the Cannes Film Festival by hairstylist Vernon Francois (No. 2) garnered its own hashtag (“They're calling it a #fronut,” the actress said on Instagram. “I like that”); THR cover star Taraji P. Henson’s diva dyna- mism on Fox’s Empire (No. 1) spawns thousands of YouTube tutorials on how to look like Cookie Lyon; and Cara Delevingne’s 22.2 million Instagram followers just might have something do with high-end brow products flying off the shelves. -
Media Analysis.Docx
Surname 1 Student’s Name Professor’s Name Course Date Media Analysis The first season of Empire drama series was premiered on Fox on January 7, 2015, and till March 18, 2015. The show was aired on Fox on Wednesdays at 9.00 PM ET (Fox, 2015). The 12 episodes American Television series, centers on an entertainment company, The Empire Entertainment Company. It is a family business making lots of profit from signing in popular musicians and hip-hop artists as well as recordings from talented family members. Each of the family members fights for control over the company. The main casts in the movie are a divorced couple Lucious Lyon and his ex-wife Cookie Lyon. The couple has three sons Andre (oldest son and married to Rhonda), Jamal (middle son), and Hakeem Lyon (Fox, 2015). Lucious and Cookie spent most of their early lives in drug dealing until Cookie was imprisoned. Although the family was living in poverty, they had ambitions to prosper in the music industry. They were a happy family always protecting and encouraging each other until Cookie was imprisoned (Fox, 2015). The interaction in the Empire Series is family-based. The ambitions and fight for control over The Empire Company bring the interactions in the family (IMDb, 2015). While in jail, the interaction between Cookie, Lucious, and their sons are minimal. After the release of Cookie from jail, her relationship with her ex-husband Lucious is business-centered until episode 7, where it becomes intimate (Fox, 2015). Although the divorced couple tries to keep their relationshipx-essays.com business-wise, it is clear Lucious loves Cookie. -
On Whiteness As Property and Racial Performance As Political Speech
PASSING AND TRESPASSING IN THE ACADEMY: ON WHITENESS AS PROPERTY AND RACIAL PERFORMANCE AS POLITICAL SPEECH Charles R. Lawrence IIl* 1. INTRODUCING OUR GRANDMOTHERS Cheryl Harris begins her canonical piece, Whiteness as Property, by in troducing her grandmother Alma. Fair skinned with straight hair and aquiline features, Alma "passes" so that she can feed herself and her two daughters. Harris speaks of Alma's daily illegal border crossing into this land reserved for whites. After a day's work, Alma returns home each evening, tired and worn, laying aside her mask and reentering herself.! "No longer immediately identifiable as 'Lula's daughter,' Alma could enter the white world, albeit on a false passport, not merely passing, but trespassing. "2 In this powerful metaphorical narrative of borders and trespass, of masking and unmasking, of leaving home and returning to reenter one self, we feel the central truths of Harris's theory. She asserts that white ness and property share the premise and conceptual nucleus of a right to exclude,3 that the rhetorical move from slave and free to black and white was central to the construction of race,4 that property rights include intan gible interests,s that their existence is a matter of legal definition, that the * Professor of Law, William S. Richardson School of Law, University of Hawaii. B.A. 1965, Haverford College; J.D. 1969 Yale Law School. The author thanks the William S. Richardson School of Law, University of Hawaii at Manoa, the UCLA Law School Critical Race Studies Program and the I, Too, am Harvard Blacktavism Conference 2014 where earlier versions of this paper were presented. -
Contentious Comedy
1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace. -
Miriam Miranda Chitiga BLACK SITCOMS a BLACK PERSPECTIVE
Chitiga, Miriam Miranda. « Black Sitcoms : a Black Perspective », Cercles 8 (2003) : 46-58 <www.cercles.com>. ©Cercles 2003. Toute reproduction, même partielle, par quelque procédé que ce soit, est interdite sans autorisa- tion préalable (loi du 11 mars 1957, al. 1 de l’art. 40). ISSN : 1292-8968. Miriam Miranda Chitiga Claflin University, Orangeburg BLACK SITCOMS A BLACK PERSPECTIVE Introduction A lot has been written about the portrayal of blacks in the American media, especially the negative stereotypical portrayals that have come out of Hollywood. Black situation comedies, the majority of which are produced and aired by “mainstream” white American media, have born the brunt of the anger and criticism of many black activists and civil rights groups. Dating back to the days of CBS’s Amos and Andy, black sitcoms on the whole have not represented African Americans positively. But most of the articles on black sit- coms have been based on “mainstream” views and critiques, principally see- king to show that the majority of black sitcoms are distasteful to whites because they are loaded with “black in-jokes” and other racial references. Litt- le commentary about the actual effects of black sitcoms on their major (intend- ed) black audiences in America has made it to print. Little systematic or empirical research has been undertaken to find out more about the way ave- rage black Americans perceive black sitcoms. This observation has been the impetus for the much-needed analytical overview provided in this essay, which means to give a voice to the often neglected ordinary African American audiences of black sitcoms. -
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. -
Examining the Representation of Empire's Cookie Lyon from A
She’s a Queen and a Boss: Examining the Representation of Empire’s Cookie Lyon from a Black Feminist Perspective A Thesis submitted to the Graduate School Valdosta State University in partial fulfillment of requirements for the degree of MASTER OF ARTS in Communication Arts in the Department of Communication Arts of the College of the Arts July 2018 Danyelle Gary Valdosta State University © Copyright 2018 Danyelle Gary All Rights Reserved FAIR USE This thesis is protected by the Copyright Laws of the United States (Public Law 94-553, revised in 1976). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of the material for financial gain without the author’s expressed written permission is not allowed. DUPLICATION I authorize the Head of Interlibrary Loan or the Head of Archives at the Odum Library at Valdosta State University to arrange for duplication of this thesis for educational or scholarly purposes when so requested by a library user. The duplication shall be at the user’s expense. Signature _______________________________________________ I refuse permission for this thesis to be duplicated in whole or in part. Signature ________________________________________________ Abstract This research uses a black feminist perspective to examine the portrayal of Cookie Lyon on Fox’s popular primetime series, Empire. Through a textual analysis of the first three seasons, this study suggests that the Cookie Lyon character defines new representation of black womanhood that empowers and disempowers black women in contemporary society. Five key representations were discovered: the Queen Mother, the Self-sacrificing Savior, the Second-best Love Interest, the Boss, and the Street Outsider.