When the topic of African American cinema is discussed, it is often within the context of images and representation. Throughout the semester, we will spend a lot of time talking about formal components of films by Black directors and how social and historical contexts inform content. For the first week of class, however, time will be spent watching two documentaries that focus on the circulation of African-American images throughout popular culture. While we discuss the kinds of images that are presented, we will also discuss the motives behind the design of these images and how they manage to persist in spite of societal and technological advances.
The late Marlon Riggs (1957-1994) was primarily known for his documentaries that candidly examined issues that concerned the African-American LGBT community (we will be watching another of his films, "Tongues Untied," later in the semester). He is also widely celebrated for his work that looks closely at African-American images in contemporary popular media. His documentary "Color Adjustment" (1991) looks at the presentation of African Americans in television in terms of how the content of Black-themed shows relate to the interests of networks and audience expectations. Prior to "Color Adjustment," Riggs made "Ethnic Notions" (1989), a more expansive analysis of stock caricatures associated with African Americans. He goes as far back as before the Civil War to learn how images such as the mammy, the coon, the sambo, and Uncle Tom were used to justify slavery and subsequent suppression of African Americans. More importantly, Riggs chronicles how these images figure into sheet music, stage productions, and motion pictures after the Civil War and the passing of the 13th, 14th, and 15th amendments in the Constitution.
Mark Daniels’ "Classified X" (1998), which features filmmaker Melvin Van Peebles, furthers the examination of African American images, yet concentrates solely on how stock caricatures develop throughout American cinema in the 20th century. Through his personal history as both a spectator and a filmmaker, Van Peebles begins from when he became conscious of the inconsistency between the images he saw of African Americans onscreen and the people that surrounded him in his neighborhood on the South side of Chicago. He follows with trends that developed in mainstream American cinema concerning the portrayal of Blacks onscreen, up to the point where he released his independently produced film "Sweet Sweetback’s Baadasssss Song," released in 1971 (which we will watch later in the semester). While Van Peebles’s objective was to transfer the rhetoric and energy of Black radical activism of the 1960s to a non-conventional form of filmmaking, the appropriation of excessive sex and violence and the reduction of a political subtext by Hollywood studios is what gave way to the blaxploitation genre.
As you watch both films, focus on the stock caricatures that are discussed, the context in which these images are produced, and how they persist through various forms of media, particularly film. What are some commonalities shared between these documentaries in terms of their objectives and what they identify, and what are some differences between the two along those same lines. Most importantly, how would you say that "Ethnic Notions" and "Classified X" are in conversation with one another, and how does the information these films provide relate to your personal observations of either Black images in mainstream cinema, or Black-themed films in both mainstream and independent cinema?
Subscribe to:
Post Comments (Atom)
Of course, both films had information regarding stock caricatures in common. However, stock caricatures were examined a little differently in both films. It seems that Ethnic Notions focused more on stock caricatures in general. Meaning, grotesque collectible items, literature and so on. Classified X was more about stock caricatures in American Cinema, and how the stock caricature developed over time, and how Hollywood tried to keep them and conceal them. The two films are in conversation with each other by addressing the issue of stock caricatures and the discussion of how they have oppressed, justified slavery, and justified racism over time.
ReplyDeleteThis morning I heard a radio program about nazi memorabilia. Apparently, people, regardless of being a neo-nazi, or a normal history fiend, just love collecting it. It's odd really, because those items signify a horrible past, but people still want them. It reminded me of all the books, clocks, and mammy statues that were shown in Ethnic Notions. It's all so confusing.
p.s. Is this where I am supposed to do the short comments? I am so confused.
I was amazed at how many times I have seen "Ethnic Notions" and yet, the uneasiness and disgust it still pushes deep into me. As I stated in class, the documentary fails to allude to the overt sexualization of Black women. They do discuss the desexualizing, as to show a less threatening female form to the White women, I would assume. The format of the doc also seems to pinpoint watershed years, that is, moments in which the Black experience in America seemed to be on the "rise", yet these characatures keep the status quo of fear and degredation.
ReplyDelete"Classified X", a Melvin Van Peebles work, overviewed the pitfalls of the Black experience in cinema. I felt that it touched a bit on the Black female exploitation, but very little, with the clip of the White man smacking down a beautiful, yet overtly sexual female for what seemed to be her pregnancy. I enjoy the candid work of Van Peebles, and would say that it raised questions that I had within myself, almost immediately. Does the current market of "Black "films (i.e.; "Brothers", "Soul Food", "Barbershop", etc.) which are vehicles that tend to have line-ups that stick to this genre (Sanaa Lathan being my favorite)have a core in what Hollywood has decided is a market worth tapping and safe to tap into, with a lack of revolution or radical commitment, yet a positive portrayal of young, beautiful Black professional characters? If so, does that validate or make them invalid to the scope we are studying, which seems to be, from first glance, a focus on films that are to send a message or alter the reality that is fronted by White society, and Hollywood?
What we had seen in "Classified X", is Melvin's view of going to the theater in Southside Chicago and seeing characters that in no way represented those around him. Do some of these newer films, mainstream as they are, also leave out or omit a large amount of Black citizens in this country by ignoring their plight? Naive but major questions I was left with in viewing this piece.
I hope this is our posting area for this. I too am confused as the post above states.
You both are doing exactly what I want you to do. I want you to share your initial ideas in response to the film and other topics that come to mind.
ReplyDeleteThe handout we received in class asks us to reply to one of several questions, so I'll do that as my short response...
ReplyDeleteThe question I'll respond to is "3. As the narrator, Esther Rolle, asks, "What were the consequences of these caricatures?""
Rather than 'were', I'd like to say 'are' the consequences, because the types of caricatures present in Ethnic Notions are still seen and are still evaluated by everyone. The caricatures in question include cartoon representations (as well as real-life caricatures in film and popular media) of African Americans that draw large emphasis to socially demeaning qualities in African Americans, that aren't even the case at all! The one that caught my attention the most was the mammy, the "sexually disabled" depiction of an African American woman that is "fat, pitch black, and happily obedient to owners". This caricature, being a cartoon, makes it very easy to adopt as truth and establish as fact in viewers of all ages. Even Bugs Bunny got in on the discriminating caricatures! Tell me how a child can watch Bugs Bunny and friends reinforce these stereotypes and be inclined not to believe them as truth. This tactic employed by the cartoonists of that time makes me so upset...
We can always say "Well, those were different times back then," but I refuse to follow that kind of logic. The systematic structures that were constructed to destroy the modern image of African Americans are real, and they are still alive today. What are the consequences of these caricatures? They make it easy for everyday people to buy into false generalizations about a person's intellect, disposition, and sexual potency to such a degree that they are no longer human like the rest of us. These consequences hurt all of us, and it's our responsibility to rise up, learn from our past, and march into the future armed with tools that combat these systematic structures for the sake of everyone...but that's just how I see it.
From Ethnic Notions, I see that the caricatures are mostly created as happy servants and entertainers with exaggerated smiles or laughable expressions on the figures’ faces. In a very long period, the characteristics of these black caricatures have not been changed either in film or other media such as sculpture and paintings. This situation reveals that under the circumstance of that period, there was little attention being paid to African American and their personal lives and feelings. The society only recognized them as labors or entertainers who are parts of white people’s property.
ReplyDeleteEthnic Notions presents the black caricatures by different media through the very beginning of African American’s life in this land. It introduces a brief history. Classified X is more like an extension of a certain part in Ethnic Notions, which provides more details of the notions that are recognized and identified in films.
I thought it interesting in Ethnic Notions how the comedic violence paralleled with the actual violence against African Americans at that time. The exaggerated physical features on the cartoon characters, in addition to the "dopey", clueless expressions on their faces, acted as a justification for the way African Americans were being treated. Especially for those who had never encountered that particular population, it would be easy to see African Americans as a group of people who needed to be tamed and controlled by White Americans, because they were not intelligent enough to functions on their own. The violent brutality that was inflicted on African Americans in order to keep them from obtaining any sort of independence or power of their own was mocked often mocked in the cartoon violence. The overall emotions of the time were based on fear and anger. It appeared that to lighten that mood, cartoons acted as a comedic vindication for the destruction of the African American community.
ReplyDeleteIt was horrific to think that not this long ago, these kitchey and offensive representations were common home decorations.
I also found it intriguing that when Black performers were actually allowed to portray themselves on stage, they still had to darken their skin and exaggerate their features to portray a charicature of themselves. It was hard to think that this misrepresentation of what African Americans were supposed to be was not only internalized but affected subsequent generations.
In Classified X, one aspect that caught my attention was the representation of interracial relationships on screen. Although it was not expanded upon, it was interesting to see African American women transform from "the mammy" to a sexualized, desirable character, although still low on the social totem poll.