Showing posts tagged with “media representation”
a very classy “up yours”
pretty tired of seeing this hair trope on asian characters
EDIT: because three examples wasn’t enough for some of you:
Why is this a thing?
As soon as I saw this post I thought about Mei Melancon as Psylocke in X-men: The Last Stand
Jenna Ushkowitz as Tina Cohen-Chang in Glee (early seasons)
this is such a weirdly specific thing
i bet there are even more examples
i’ve seen more posts of people being excited for Home than this movie, which made me upset because this movie comes out before Home does (not that i am saying that you shouldn’t praise Home as well). and as for Big Hero 6 (a movie that also comes out after the Book of Life) and the people saying that there is a lack of representation of Asians in media, i feel you. why? because there is a bigger lack of hispanics, and i agree Disney messed up, you be upset. but be happy for Hispanics as well because we finally got an animated movie representing us and our culture. so please go see this movie when it comes out.
that is all i ask.
im soexcited about this movie but i keep seeing this post and want to add that everyone should also keep in mind that dia de los muertos is specifically MEXICAN. la muerte (santa muerte) and a lot of what is being depicted is seen primarily in MEXICAN culture and should not be lumped together in its entirety as a “hispanic” thing.
I need to explain a little bit more about the cast, because seriously this is so cool:
The cast of characters in the movie is almost entirely Mexican, save for a few minor characters who (from what I can tell) aren’t relevant to the plot. The voice cast is ALL POC with like 3 exceptions, and most of the cast members are Mexican, meaning that this is a story being told by characters and by people who have a direct cultural connection to it. That’s huge.
ALL OF THIS AND MORE! GO SEE IT!
Hispanics need so much more representation then we get <3
Yayy culturesss <333
This is a REALLY interesting and important read.
This article won (or contributed to the winning of) three Hugo awards this year: Best Related Work, Best Fan Writer (Kameron Hurley) and Best Fanzine (A Dribble of Ink). Fantastic work.
Seriously, this is a really amazing article and you should read it.
Take a facet of crime, and then look at television shows/movies that feature those criminals as protagonists.
White serial killers.
White political corruption
White drug dealers
I mostly want to talk about this as a TV phenomenon, but pick a crime, any crime, and Western media has probably made a movie/TV series/play/etc. with a white person that romanticizes the criminal activity. No matter what, a white person can do whatever terrible crimes and still have a TV/movie fanbase that loves them.
When you see black or brown people committing crimes on screen, you are to see them thugs and criminal masterminds and people to be beat down.
When you see white people committing crimes on screen, you see a three-dimensional portrait of why someone might commit that crime, how criminals are people too, and how you should even love them for the crimes that they commit because they’re just providing for their families or they’ve wronged or they’re just people and not perfect. This is particularly a luxury given to white male characters, since there few white female criminals as protagonists.
If and of the above shows were about black or brown folks, there would be a backlash of (white) people claiming that TV and movies are romanticizing criminals and are treating them too much like heroes and that it will affect viewers and encourage violence and “thuggish” behavior. And yet fictional white criminals get to have a deep fanbase who loves these white criminals, receive accolades and awards, get called amazing television that portray the complexities of human nature. Viewers of these characters see past the atrocious crimes and into their humanity, a luxury that white characters always have while characters of color rarely do. The closest that mainstream TV has come to showing black criminals as main characters is probably The Wire, and even then, the criminals share equal screen time and equal status as main characters as the police trying to stop them.
The idea that crime can be so heavily romanticized and glorified to such a degree is undoubtedly a privilege given to white characters. The next time you hear someone talk about Dexter Morgan or Walter White in a positive way, it may be an opportunity to rethink how white people can always able to be seen as people no matter what they do, while everyone else can be boiled down to nothing but a criminal.
I always felt extremely uncomfortable with this trope because, not only is it racist, but it tends to feed into the already too common propensity society has to humanize, romanticize and exonerate irrevocably terrible white men. Like if you’re a white man and you commit awful crimes, you will likely go down in history as a legendary celebrity and historical figure
leeandlow submitted to medievalpoc:
The Diversity Gap in the highest grossing science fiction and fantasy films. Sad, right? You can see the full study here.
from the infographic:
Among the top 100 domestic grossing films:
- only 8% of films star a protagonist of color
- of the 8 protagonists of color, all are men; 6 are played by Will Smith and 1 is a cartoon character (Aladdin)
- 0% of protagonists are women of color
- 0% of protagonists are LGBTQ
- 1% of protagonists are people with a disability
I never understood why the genre I love so much doesn’t love me back :(
I admit this broke my heart because…me, too.
I have to say that one of the most unexpected and amazing things about Medievalpoc is that I’ve discovered I’m not alone in feeling that way; that there is a whole community out here trying to change that.
“I can’t accept that. I can’t accept that there was only one black woman in the entire film, who delivered one line and who we never saw again. I can’t accept that the bad guys were Asian and that although in China, Lucy’s roommate says, “I mean, who speaks Chinese? I don’t speak Chinese!” I can’t accept that in Hercules, which I also saw this weekend, there were no people of color except for Dwayne Johnson himself and his mixed-race wife, whose skin was almost alabaster. I can’t accept that she got maybe two lines and was then murdered. I can’t accept that the “primitive tribe” in Hercules consisted of dark-haired men painted heavily, blackish green, to give their skin (head-to-toe) a darker appearance, so the audience could easily differentiate between good and bad guys by the white vs. dark skin. I can’t accept that during the previews, Exodus: Gods and Kings, a story about Moses leading the Israelite slaves out of Egypt, where not a single person of color is represented, casts Sigourney Weaver and Joel Edgerton to play Egyptians. I can’t accept that in the preview for Kingsman: The Secret Service, which takes place in London, features a cast of white boys and not a single person of Indian descent, which make up the largest non-white ethnic group in London. I can’t accept that in stories about the end of the world and the apocalypse, that somehow only white people survive. I can’t accept that while my daily life is filled with black and brown women, they are completely absent, erased, when I look at a TV or movie screen.”
—Olivia Cole - Lucy: Why I’m Tired of Seeing White People on the Big Screen (via noely-g)
“When minor characters who are also ethnic minorities start talking among themselves in their native tongues, they sometimes take advantage of their invisibility to say things. Sometimes they break the Fourth Wall and start ranting about the movie director. Sometimes, they spout random obscenities or natter about their lousy lunch. It’s all in not-English, so whatever they say doesn’t matter! And the actual translations of their lines can be a secret source of hilarity in films where actors are instructed to use a Gratuitous Foreign Language (GFL) in order to make a scene sound more authentic. When some Native Americans cast in Westerns were told to speak their own language to add some authenticity, these actors took the opportunity to crudely editorialize about their director, which allegedly resulted in Native American audiences (in)explicably cracking up laughing during scenes that were meant to be dramatic.”
This is cultural bias in effect. General (generally white) audiences never question why characters are white and blond. If a character could be white, that’s usually justification enough. Whiteness as default becomes logical and comfortable. Only non-whiteness requires an explanation.
Indeed, if a character is not white, some people will cry out that their racial identity is the product of political agenda-driven tampering. If a character is white, the same people will comfortably assume that he or she came out of the box like that.
It should be noted that we’re not even talking about the broad US census category of “white”, which covers people whose families hail from Europe, North Africa or the Middle East — including many people with tan, olive or ruddy skin.
In comics, whiteness is predominantly represented by the pale pink complexions of Northern Europeans — the color once problematically referred to as “Flesh” on Crayola crayons, until Crayola changed it to “Peach” in 1962. Real world white comes in many shades, but in comics all white people seem to trend towards hex color #FFCFAB. (Individual colorists may of course bring more nuance to their work, but how many white superheroes can you name who are consistently portrayed with bronze or olive-toned skin?)
Superhero comics don’t actually favor whiteness; they favor a subset of whiteness that borders on Aryan idealism. We ought to regard that as uncomfortably fetishistic, because it’s an aesthetic that the industry has chosen.
All fiction is manufactured. Authors make their worlds and choose what goes in them. It is always possible to contrive a fictional justification for a character looking whichever way the author wants, up to and including finding a way to make a white person the hero in a story about, say, feudal Japan, or ancient Egypt, or Persia during the Islamic Golden Age. A white hero is not the most likely scenario, but it’s always a possible scenario, so in that way it always becomes justified.
The decision to cast Michael B. Jordan as the Human Torch has been called out by message board posters as evidence of an agenda at work — but white heroes in these non-white settings are rarely called out as similar evidence of an agenda. It’s all artifice, it’s all contrived. Fiction exists in service to an author’s design. All fiction serves an agenda, whether it’s articulated or not.”