Perpetuating the Myth of the Violent Black Man?
The myth of the violent black man has been perpetuated in film through the use of damaging stereotypes.
Can White Directors Make Black Films?
Historically, black representations in films by white directors have been more than slightly problematic. Damaging stereotypes dominated the screen leaving a bitter taste in many African-American’s mouths. The African-American culture is rich and often tragic which adds to this white fascination with the ethnic ‘other’. Of course white directors can make black films, but I think the larger question is should they?
The white director is often categorized into two groups; paternalistic and condescending or wigga (white nigga). The paternalistic and condescending director is evident in a vast array of Hollywood films, most notably Gone With The Wind (Fleming, Cooker and Wood, 1939). Essentialists argue that there are certain traits for certain groups of people and that white people cannot and should not make black films as they cannot give an accurate representation. One such film that has been under scrutiny is The Colour Purple (Spielberg, 1985). Criticised for contrasting the novel on many levels, Spielberg’s attempt to portray the struggle of an African-American woman is still a hot topic for many attempting to prove that white directors are incapable of producing a film that is both accurate and sensitive to issues surrounding black history. One of the main issues that black audiences found with the film was the overtly violent and brutal representations of black men which many thought would create an even larger wedge between black women and men. Columnist Tony Brown labeled the film and book as a ‘nazi conspiracy’, arguing that he was sick of white men publishing books written by black women against black men. Unsurprisingly, these same criticisms were not met by the female black community who actually commend the film for it’s statistical validity. At the time of the films release, female reviewer Jill Nelson stated that nearly 50% of black children are born to single mothers and 80% of black mothers are single parents. For Nelson, sexual politics and sexual violence within the black community was something that needed addressing and was almost thankful for the way in which The Colour Purple used such a strong, black female lead to portray these issues. However, I think it’s important to note that having a film created for both black and white audiences that used such damaging stereotypes such as Mister can undoubtedly be upsetting. Moreover, Spielberg’s departure from the original text making the main character poor rather than wealthy also created greater debate surrounding whether or not Spielberg, as a white director, should have adapted this novel to film.
Much to the dismay of many who follow the essentialist ethos, Django Unchained (Tarantino, 2012) was released at the beginning on 2013 in the UK. A film based on slavery in the deep South but directed by prominent white director, Quentin Tarantino. For once it wasn’t Tarantino’s depiction of violence making headlines but rather the use of the word ‘nigger’. It is heard over one hundred times throughout the film with director Spike Lee claiming that Tarantino is ‘infactuated’ with the word. However, Tarantino resents this stating that the ‘n-word’ is “part and parcel” of an accurate and truthful representation of life for a slave in the Antebellum South. He goes on to add “They are saying I should lie, that I should white wash, that I should massage, and I never do that when it comes to my characters.” Responses to the film itself have been surprisingly mild, with there being far less criticism from the black community this begs the question, could this film serve to enhance race relations? Comedian Lenny Bruce justifies his frequent use of the ‘n-word’ claiming that “it’s the suppression of the word that gives it the power, the violence, the viciousness.” Academics continue to work toward dismissing racial boundaries, Professor Todd Boyd of UCLA argues that it is through repetition that we can desensitize the word. He also claims that Hip Hop music has already began to redefine the word. However, it is important to note that many people disagree and still find the word hurtful. Removal of the taboo surrounding the ‘n-word’ could potentially trivalise the legacy of racial oppression; Randall Kennedy, a Harvard Professor call the ‘n-word’”the nuclear bomb of racial epithets.” Overall I think that the article in The Guardian by David Cox sums up Tarantino’s use of the ‘n-word’ well, “In Django, the word is used frequently as both a term of endearment and empowerment as Django himself insists that he is one of those ‘one in ten thousand niggers’ who wont be kept down”. Tarantino is well received amongst the black community and is clearly close with his African-American dominated cast. He dismisses American education on slavery stating that he learnt more about the Aztecs than slavery within his own country. Whilst the film was undoubtedly filled with scenes that were uncomfortable to watch, you cannot argue that slavery in itself was brutal and therefore cannot argue against their validity and a right to a place in the film. Personally, I found the film to be enlightening. A fresh take on slavery that does not undermine the suffering of thousands of black people during a time of oppression.
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In conclusion, yes white directors can make black films. The main criticisms for Tarantino’s Django Unchained were from predominantly white critics so maybe the issue is with the industry rather than the audience. Creativity should not be limited by your race, gender, religion etc. however I think it’s still important for directors to seek an accurate representation of whatever group of people they’re trying to portray,
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We are in a Post-Racial Era!
Some people believe we are in a post-racial era, this is due to the fact that most western countries have a multicultural ethos.
Bibliography
Bobo. J. (1988). Black Women’s Response to The Color Purple, Jump Cut. Pp 43 – 51.
Bogle. D. (2001). Toms, Coons, Mulattoes, Mammies & Bucks. United States: continuum.
Cox. D. (2013). Has Django Unchained defused the ‘n-bomb’. Retrieved from: theguardian.com.
Diawara. M. (1993). Black American Cinema. United States: Routledge.
White. A. (2013). Still Not a Brother: Armond White on Django Unchained. Retrieved from: nypress.com
Bogle. D. (2001). Toms, Coons, Mulattoes, Mammies & Bucks. United States: continuum.
Cox. D. (2013). Has Django Unchained defused the ‘n-bomb’. Retrieved from: theguardian.com.
Diawara. M. (1993). Black American Cinema. United States: Routledge.
White. A. (2013). Still Not a Brother: Armond White on Django Unchained. Retrieved from: nypress.com