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The book Indian Horse by Richard Wagamese, tells the tale of a young boy named Saul Indian Horse who goes through the struggles of trying to fit in, in a society controlled by white people. Saul tells the story of his life and the challenges he goes through. The change and abuse he receives, and the supports he rarely gets, Saul really showed how he was treated and what it was like to be a First Nations in the 1960s. Just like the book, the movie 42 by Brian Helgeland showed struggles of trying to fit in, in a society controlled by white people. The main character, Jackie Robinson, also showed the changes and abuse he received throughout the movie.
It also explores the minority poor demonization to serve political ends contributing to minority unrealistic fear by the whites and to persistent police brutality problems against the minority communities. Videos taken by bystanders and by use of cams worn by officers and some placed in police cars show how the unarmed minorities were fatally shot by the police in minor confrontations in the 21st century. The film end with a graphic of recent videos of blacks’ fatal shooting by the police. Questions 1.
Although race relations in the United States between whites and African Americans have significantly improved since the abolishment of Jim Crow laws, director Spike Lee’s socially conscious satire, Bamboozled shows that discrimination has only evolved. Released in 2000, the film sought to edify the African American population about the racist and stereotypical treatments blacks endured during the Jim Crow era when they were used to entertain the white masses. Moreover, it also shows how that culture is still propagated today, with African American film makers just as guilty. From the time the first African set foot in the North American colony of Jamestown, Virginia, in 1619, race relations have always been whites’ superiority over blacks.
Proposition 65 is the initiative regarding the funds from the sale of carryout bags in certain stores. According to the Official Voter Information Guide provided by the State of California, if a state law prohibits distribution of free single-use carryout bags and requires a minimum charge for other carryout bags, this initiative would redirect these proceeds to a special fund — the Environmental Protection and Enhancement Fund — to support programs and projects related to recycling, beach cleanup, litter removal, clean drinking water, drought relief, habitat restoration, and state, regional, and local parks. A small portion of these funds would be used for grant administration and audits of the programs receiving funds. Proposition 65, or
Dolores del Rio was frequently casted for movie roles that embodied the “exotic” and “foreign” appeal popular in the 1920s. In the silent drama film The Loves of Carmen directed by Raoul Walsh in 1927, del Rio is depicted as a Spanish gypsy, Carmen, who has the power to seduce any man. She has her heart set on Don Jose, played by Don Alvarado, and plans to win him over. Their relationship begins to take a downfall, and Carmen falls for another man--a bullfighter named Escamillo. Saddened but determined, Don Jose embarks on a journey to make Carmen his true love again.
In the documentary I am Not Your Negro about James Baldwin and 13th documentary directed by Ava DuVernay both amplified the injustice of the black community over the years. Each documentary illustrates the current obstacles that are set in place, which perpetuates our oppression. In the film 13th directed by Ava DuVernay explains a well-informed researched look at the American system of incarceration, precisely how the prison industrial complex distresses people of color. Her analysis could not be more timely nor more irritating. The film builds its case section by shattering piece, inspiring levels of shock and outrage that stun the viewer, leaving one shaken and disturbed before concluding a visual memorandum of hope intended to keep us active
Towards the beginning of this movie, many blacks were looking at the white men with hatred for raping and nearly killing a ten year old black girl. The men transformed the innocent little girl’s life forever. The men were instantly
White Fragility is a term coined by Dr. Robin DiAngelo meaning “a state in which even a minimum amount of racial stress becomes intolerable, triggering a range of defensive moves.” DiAngelo believes white people in North America live in a social environment that insulates them from race-based stress, due to their privilege as part of the cultural majority. The idea of white fragility entails that members of the Caucasian race do not struggle as much as minorities and, through their ignorance, they believe they understand and can relate to the struggles minorities endure on a daily basis. Director Jordan Peele demonstrates this concept of white fragility through his thriller suspense film, Get Out. This film to transports the viewer to the perspective of the white dominance in America towards minorities and how powerful their role of control is in the U.S. Through projecting some of his own fears, Peele approach this horrifying reality through dark plot twists and comedic satire.
Casual Racism, An Aspect Of Society: Rhetorical Strategies In Get Out Although blatant acts of racism have diminished since the 1900’s, acts of casual racism are now predominant in America. In the film, Get Out, written and directed by Jordan Peele, Peele claims that acts of casual racism are aimed at ethnic minorities. Peele begins to build his credibility by addressing issues of casual racism in the text, targeting the White liberals as his audience, using constraints to encourage empathy for his character Chris, and by covering the controversial issue of America being a “post-racial” society as the exigence in Get Out. Peele, a comedy writer, actor, and ethnic minority, has been praised for his portrayal on his hit comedy show
Moreover, demonstrate consequences are taken to oppress racial and ethnic minorities to keep them in a subservient position. Overall, this film has provided me with a visual depiction of how stereotypes are a mental tool that enforces racial segregation and self-hate. The label of “White” became a necessity for Sarah Jane to achieve in society. To attain it she needed to move to a new city, change her name and deny her mother.
The cultural representation of people of color in film is a serious form of racism and prejudice within United States. White-washing, which speaking in terms of film, is casting practices where white actors are casted as historically non-white characters. Therefore, to explain the definition of white-washing as well as racism within the film industry, the following are statistics of the diversity gap in the Academy Awards throughout 87 years: 98% white producers, 98% white writers, 88% white actors. Best actress winners have been 99% white and 1% person of color, while best actor winners have been 92% white and 8% of color. If racism was non-existent in the film industry, why are there no winners within the last decade of Latino, Asian, or Native American Descent (Palmer)?
White are attached to their own identity and violate the civic solidary of others because they expect others conform to these ideas or be oppressed and have to feel unwelcomed. Many people like Sam Huntington “calls for immigrants to assimilate into America 's “Anglo Protestant culture” (Song). If this culture seems to be violated then people can become defensive of it and violent. As Lorde says, “there must always be some group of people who, through systemized oppression, can be made to feel surplus, to occupy the place of the dehumanized inferior” (Lorde). This group was blacks for many years and in the future any other minority could take the mantle as the oppressed because it violates one’s ideals and expectations of others.
In my understanding of this concept based of off class lecture etc. and accompanied readings, this concept appears to be one that can be shown in various way because of its broad scope. There are situations in where this term can be describing, white dominance and a strong Eurocentric focus on films within the movie industry. Simultaneously, this term can be used to describe the concept of the white hero, or the replacement of intended ethnic actors and actresses by their white counterparts. Often times as described in class when talking about “Gods and Kings.”
In the documentary, James Baldwin states many things about racism in America. One crucial problem that I believe is the most important is the culture in which young black and white kids are raised. In the film, he says that in movies, heroes are always white. The movies do not show black people, or matter of fact, any other race as heroes. If young black and white kids are raised watching those movies, they will start to portray those ideologies in the real life.
Critical Whiteness Studies responds to the invisible and normative nature of whiteness in predominantly white societies, criticizing racial and ethnic attribution of non-white subjects who have to grapple with their deviation from the set norm, and opening the discussion on white privilege that results from being the unmarked norm (Kerner: 278). As Conway and Steyn elaborate, Critical Whiteness Studies aims to “redirect[...] the scholarly gaze from the margins to the centre” (283) and, more specifically, to interrogat[e][...] the centre of power and privilege from which racialization emanates but which operates more or less invisibly as it constructs itself as both the norm and ideal of what it means to be human. (ibid.) Thus, Critical Whiteness