Salina and I presented a racial analysis of Hollywood, aided by two chapters from Maryann Erigha’s novel, The Hollywood Jim Crow: The Racial Politics of the Movie Industry. Erigha highlighted racial representation, the power of cinema to shape, and the economics of the movie industry in relation to race.
In lecture, Salina and I chose to examine the movie The Hunger Games and the play Hamilton, in relation to the representation of race. I found it fascinating that a movie watched by many young teenagers ties in one of the few black characters, Thresh, to the associations of the iconic ghetto. Thresh kills in a violent way devoid of intellectual ability. Meanwhile, Katniss kills from far away with a bow and arrow, requiring precise actions and quick response. This movie was widely popular in our generation and I find it devastating that it took so long for me to realize the racialized characterization is possesses.
One thought I had during discussion that I did not get the chance to mention was that the translation from book to screen is reflective of the predisposition of Americas to assume that important roles should be played by white actors. Rue, who is played by black actor Amandla Stenberg, is an innocent and beloved character. Audiences were outraged to discover that Rue was played by a black actor instead of a white actor when the movie was released. Even though Susan Collins never specified the race of Rue in her novel, audiences assumed that because she was an integral character that she should be white.
The idea of important characters represented by white actors is widespread in Hollywood. Another widely watched film of our generation was High School Musical, in which the two main characters were Troy and Gabriella, both played by actors with light skin. Meanwhile, their best friends Chad and Taylor are played by black actors. Even this slight difference in racial representation can have a dramatic effect on young minds. Middle schoolers are learning that the most popular and successful kids in high school are white. Additionally, they are presented with the concept that people date within their racial group. Although there have been additional efforts to have interracial couples on screen, overwhelmingly the most visible couples are of the same race and are usually white.
Final thoughts: we, as individuals in a sociology class, make up a group that has the opportunity to change this scenario. Change takes motivators from the top such as actors and directors, but is more important coming from a large audience. Because economically, Hollywood is trying to sell to an audience, we need the larger audience of the United States to advocate that increased racial diversity is an expectation (through laws) rather than a disregarded wish. As Erigha mentioned, cinema has the power to shape minds; young children are unknowingly attaining ideas about race that they cannot control. When white characters are the most visible and successful, young minds start to believe that this is true, continuing America’s cyclic notion of white superiority.
This discussion was pretty eye-opening, mostly because I think media (especially movies and shows) played a huge role as a child in the ideas I formed of America and the West. I distinctly remember reading about Katniss’ ‘olive-colored skin’ in the book at age 14 but thought nothing when they cast Jennifer Lawrence; like the rest of the class, I didn’t notice the symbolism behind Thresh’s scene when I watched it; and when I saw the scene with District 11 rebelling and protesting, I didn’t think it was a reflection of prejudice and bias – I thought it was emotional and brave, without realizing the deeper connotations that scene held.
I think the great part about growing older and learning all these things, though, is the opportunity to reflect and unpack the ways one was socialized to certain ideas as a child. Were they helpful or harmful? Are these still ideas and beliefs I want to hold on and bring into the future? This ties in with your final point, about how we as consumers have a chance to change the way Hollywood works. I agree and it’s important that more people recognize this. While it may be difficult to boycott films that have problematic depictions or themes – as many of them are – I think, more realistically, we can give increased support to directors, movies and shows that have positive depictions we support, good diversity in race/class/gender/sexuality/etc., and discuss important themes. We must ensure they have the funding and support to continue creating quality content and signal to other content creators in Hollywood.