Showing posts tagged with “media representation”

http://aidanmoher.com/blog/featured-article/2013/05/we-have-always-fought-challenging-the-women-cattle-and-slaves-narrative-by-kameron-hurley/

juliedillon:

ninjaeyecandy:

noblezou:

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. 

Jai Rani Alisha: The Glorification of White Crime

theroguefeminist:

daughterofmulan:

Take a facet of crime, and then look at television shows/movies that feature those criminals as protagonists.

White mobs.

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White pirates.

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White serial killers.

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White political corruption

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White drug dealers

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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

medievalpoc:

quifrmqueenz:

medievalpoc:

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.

 I highly recommend reading the entire article. 
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.

medievalpoc:

quifrmqueenz:

medievalpoc:

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.

I highly recommend reading the entire article.

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)

(Source: whatwhiteswillneverknow)

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.

Minorities can be marginalized in film, but not silenced. (via salon)

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.

—Andrew Wheeler, Radioactive Blackness And Anglo-Saxon Aliens: Achieving Superhero Diversity Through Race-Changing” (via fyeahlilbit3point0)

(Source: stareintothemaggotdrawer)

ursulatheseabitchh:

So I made this thing and I’m pretty proud of it, haha.

(Source: pumpkinspiceaddiction)

People ask, ‘So, how are the roles now? You must be getting so many.’ And it’s like, I don’t know if you know, but I’m Asian still,” Yeun told TheWrap earlier in July, laughing. “It’s not a complaint, that’s just how it is now, and I have to forge my own path through it and see that through. I think that if I had not been Asian, I probably would have a whole plethora of roles, at least to audition for, but it’s just not what has been written.

‘Walking Dead’ Star Steven Yeun Is Writing and Producing His Own Projects to Create Better Roles For Asian Actors (via bluepeets)

How to be the white guy on the diversity panel:

princelesscomic:

So, thanks to the types of stories I’m interested in telling and the types of conversations I’m interested in being a part of, I often find myself either part of or hosting diversity or representation panels. For instance, at this year’s Awesome Con I suggested a panel on representation in comics which I titled “Representation is Important”.

To my pleasure, I arrived a minute late to the panel and almost didn’t get in because the panel was overflowing. On the panel with me were Alex Simmons (long time black comic book writer/actor/editor/amazing guy who has worked on everything), Amy Chu (Asian American female comic book writer and all around great person), Alitha Martinez (long time black female comics pro who has worked for both of the big two), and Laura Lee Gulledge (white female indie cartoonist and writer).

Now, I’ve seen panels with similar make ups where the white guy takes it on himself to explain how the comic book industry “really works” to the others on the panel. That’s not really my style. Also, both Alitha and Alex have substantially more history and cred in the industry than I do and Amy and Laura Lee are on pretty well equal footing. So, what do you do? When this is the topic in play, being the white guy on the panel makes you stand out. Also, it can lead to awkward transitions where somebody has just finished talking about the tough time they’ve had dealing with white editors/writers/artists/executives.

Here’s my answer: the first thing everyone did was introduce themselves and how they got into comics. Everybody’s story is pretty different and complex, as they are in any panel where you discuss how you got in. So, I’m at the end of the line and it rolls around to my turn. I take the microphone, smile at the full audience of interested and attentive people and say:

"My name is Jeremy Whitley and I got into comics the old fashioned way: by being a white man."

I have never seen a room full of people melt so easily. I had to stop talking for a solid minute to let everyone finish laughing. It was amazing. Just throw that elephant up on the stage and let everyone have a good look. Then I explained what I was doing there and why I had an interest in this subject. And for my encore, I decided to take it on my shoulders to be the person who complained about some of the really awful stuff that’s going on in the comics community right now. Not only do I not feel the need to explain the actions of other men (white and otherwise), but I’m not going to make the people who have to face that junk bring it up and make them feel like they’re whining.

Also, and I see this far too often, don’t talk over women/girls. Whether they are on the panel or in the audience, you can generally tell when someone wants to talk and here’s the thing: as a white man there are no shortage or places or resources through which you can express your opinion and while it’s perfectly within reason to take your turn, when the subject is hot and somebody has something they want to say, don’t step on them. It’s the first rule of being an ally and no matter how strongly you FEEL about representation, diversity, or rape threats - these are still issues that only concern you indirectly and you should ALWAYS defer to those for whom it is a day to day issue.

TL:DR - Recognize your privilage. Expose it. Facilitate the conversation. Step back and be an ally rather than attempting to run the panel.

Why the ‘Fresh Off the Boat’ TV Series Could Change the Game: Jeff Yang

racebending:

fascinasians:

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