bell hooks

For filmmakers to represent Black women as sex workers in a way that is cinematically transformative they must emphasize how the character feels in regard to her work. More times than not, it would seem as thought the female sexual worker must dislike her career choice and ONLY be in that business as a means of survival. By depicting the story in this way, filmmakers show the female's willingness to do what it takes to survive--especially if she works in the sex industry to provide for her family.

In opposition to this hegemonic outlook on female sexual workers, a film can also be transformative if it depicts women who are empowered by their sexuality. The downfall to this type of storyline, however, is that most audiences won't find it to be transformative but rather demoralizing and (potentially) unrealistic.

bell hooks

I think that it is possible for filmmakers to portray women in cinematically transformative ways. When involved in sex work, as bell hooks mentions, it's problematic if filmmakers portray these women as victims. Victimizing the consciousness of personal sexuality only leads to more idealized themes. It's as if they treat sexuality like a disease or syndrome female characters can't help but have.

A good example that bell hooks uses when noting a success in the depiction of female sexuality comes from Spike Lee's Girl 6. Rather than rendering her as a stereotypical, naive girl punished by harsh reality, Lee gives her a bit of power in her situation. She must reveal her breasts to Quentin Tarantino's director character, only to run off and abandon the job. When she won't pose nude for other jobs, she isn't hired.

Her sexuality becomes an obligation in this case, meaning that she must be more open to fully exposing herself if she wants to reach the level of stardom she desires. Many films might falter at this point and try to gain sympathy for the character. Lee, on the other hand, gives Girl 6 a great edge that lifts it above any stereotypes. The main character can't find jobs because she withholds her sexuality, so instead of backing down or giving in, she takes a job as a phone sex operator, where the sexually natured conversations really are just acts like the movies she dreams to star in. Each call is an opportunity at a new role and she takes it, mimicking the vulgarity that Tarantino's character wanted.

I think this is a great example because it makes the character a lot more dynamic than many depictions of sex addicts, strippers, porn stars or prostitutes, or any other women involved in sexual professions. This woman is not a quitter nor is she weak at all. This character is intelligent and conscious of what she must do in order to survive. She is conscious of her sexuality, and conscious that sometimes it can be used in order to make money. In that vain, to me this character is intriguing. She takes what other characters claim as obligations and alters them in her own way to try and survive.  

Hooks

Question: Can a filmmaker represent Black women as sex workers in a way that is cinematically transformative? If so, what narrative components are necessary for such a re-framing?

First off, I want to be optimistic and I do believe that it is possible, so I am going to say yes to the first question. I think that it is definitely possible in film to show a black women working as a sex worker and show her in a cinematically transformative way.

First, I think what is already lacking for most of these representations is depth of character. Most films portray Black women sex workers in a stereotypical light and fail to show them outside of their actual job. In portraying this role, I think that one must give more information on the character and more circumstance as to why that job choice. In Girl 6, the woman is forced to enter this line of business via phone sex because she is unable to fulfill her dream of becoming an actress. As Hooks praises, Spike Lee was able to transform this character without having her come off as a sexual object only by making her the main character and actually spending time on developing her character.

Spike Lee

Out of all of Lee's films I would say School Daze was transformative. The film used unique film aesthetics to to dramatize it's message and even blends some affects from shows seen on Broadway. The behaviors of Black Greek organizations in the U.S was exposed by Lee. Shedding light on the issue of greek "hazing" was very effective in black greek culture.

Cinematically transformative

Can a filmmaker represent Black women as sex workers in a way that is cinematically transformative? If so, what narrative components are necessary for such a re-framing? 

I think its possible for filmmakers to frame the storyline of any film to be transformative, however, the film must be authentic and realistic and easily identified by audience members in order to meet the criteria of being labeled as a transformative piece.

Spike Lee

Unfortunately, I haven't seen a lot of Spike Lee's work, so I don't feel like I can really give a solid opinion on his most transformative work. I enjoyed the clips of his film Malcolm X and I feel that that was an important story to be told and from the clips it looked like a very powerful film to me. Overall, I think that films that touch upon important historical stories are important in order to keep the story alive and further education. This is why I would like to see this full movie because I think that there is something to be learned from this film.

This past weekend, I watched one of his most recent films, "Oldboy", which was a remake of a previously done film. I enjoyed this movie even though the themes were quite disturbing, but I felt that it was well done and the plot was developed really well. I don't think it was one of his best films or did much to transform any ideas, but it was a decent film that I would recommend to others.

Blog 10

I believe that yes, a filmmaker can represent Black women as sex workers in a way that is cinematically transformative.  In order to represent the re-framing, the filmmaker has to show a change in the female cinematic role.  There are very few films with a strong female lead, and there are even fewer films with a strong Black female lead because in a lot of movies, females are represented as supporters and/or girlfriends to their male counterparts, so they are shown as the object instead of the subject.  To go along with that supporting character, women are quite frequently represented as sex symbols, and everything has to be about their body and their appearance.  Therefore, if a filmmaker wants to transform this image, they have to give the Black woman a strong lead role.  The character might be sexy, have a good body, look good and be a sex worker, but if the character also has narrative components like being in control of her life, a group of people, her family and/or maybe even her husband and can support herself if she needed to, that is a big step toward re-framing the representation.

spike lee

I agree with Jacob and the others who said that "Shes Gotta Have It" is one of Spike Lee's most transformative films. The film was controversial because it kind of did an opposite roll play of men and women, men are allowed to sleep with numerous women but women cant sleep with more than one really without being labeled a sexist name. This movie had a different edge to it than most because of just that, it hadn't really been shown in movies till Spike Lee came out with this movie.

Spike Lee

In my opinion, the 2008 film Miracle at St. Anna is Spike Lee's most transformative film. It is a story about four Buffalo soldiers in WWII. They seek refuge and shelter in a small Italian village and eventually form bonds with the people living there as they try to survive the occupancy.

Although Lee has an impressive number of diverse films under his belt, this seems to be an outlier. As a fan of Lee's films, I wouldn't have guessed that he'd want to make a war film. When I first saw this film almost six years ago, I was glad that he did it.

Somehow, Lee finds a way to integrate the very themes of his other films into this one while maintaining the look and feel that many other American war films have established. Miracle at St. Anna   contains themes about race, love, and survival, much like Do the Right Thing or Jungle Fever. I think this film is the most transformative because Lee was able to take an established genre, the war film, and put his own stylistic mark on it. Also, Lee accomplishes so much in this film. He shows how Black soldiers were treated in the second World War while simultaneously depicting the absolute resilience and bravery of United States Buffalo soldiers.

Lee does this a lot. Whatever genre he dabbles in—be it romance, drama, thriller, crime drama, or his upcoming horror-comedy Da Sweet Blood of Jesus—he always makes his own mark.

Spike Lee Film

I believe that one of Spike Lee's most transformative films include Malcolm X.  This is a tale of Malcolm Little, a human rights activist - immediately alluding viewers to the fact that this film will (presumably) unveil a greater truth.  A greater truth about Malcolm X and his efforts, and about black culture.  In this film, Spike Lee does not follow the normal film aesthetics of a Hollywood masterpiece.  The film is about a man who went against the grain, while the film itself also goes against the grain.  I think that is profound and possesses a powerful message in and of itself.

Hip Hop

It depends on what music you listen to and what films you view.  I think that non-mainstream hip hop artists definitely reflect the atrocities faced in urban life.  Following that same pattern, I believe that non-mainstream films, AKA independent films, also do a good job of reflecting urban atrocities that many people face.  Both of those types of text also do a great job of displaying the true artistry and intelligence that lies in the minds of those music and film producers.
On the other hand, I believe that many mainstream films and hip hop songs, ones that don't really talk about anything and their message does not really serve a civic purpose, are put out into the mainstream to illustrate a backwards, skewed image of what hip hop culture is all about.  In other words, mainstream hip hop texts reinforce negative stereotypes.

Spike Lee

Although having never seen Spike Lee's 1986 film, She's Gotta Have It, it is abundantly clear after reading the assigned passages that this film in particular is exceptionally controversial both during the year of its release and still almost thirty years later today.  Lee's character Nola, the heroine of the tale, can be interpreted in two drastically differing opinions:  (1) Nola is a highly original character who is praised for her overt sexuality and "going against the grain" attitude towards feminine hegemony; or (2) Nola is an unoriginal, hyper-sexualized black woman who has portrayed numerous times, leading critics such as Amiri Baraka to draw the conclusion that her character "echoes the basic slavemaster propaganda" (149).  These highly polarized readings of Lee's film suggest the powerful impact the film has/can have on its viewers attempting to break new ground against double standards which negatively target women.  This film calls upon its audience to choose a side:  to either become empowered by embracing their sexuality or to stand up against hyper-sexualized femininity--regardless of the audience's perspective, the film still poses the question.

Spike Lee

I think Spike Lee's most transformative film would have to be She's Gotta Have It, on account of its challenging of mainstream film notions in style and substance (through budget), the way it helped propel an independent filmmaking movement in the 1980s, and, as Greg Tate called it, its "uncompromisingly black vision." The character of Nola is a unique, layered representation that would still be appreciated in films today. As Connor said below, the difference between a sexual object and a sexual being is gigantic - and Hollywood still has trouble grasping it. It takes an unceasing voice like Spike Lee's to work such viewpoints into good films.

Spike Lee films

I agree with Jacob that She's Gotta Have it is quite a transformative film. It challanges classic gender roles in cinema with the character of Nola. Her sex life is celebrated, not shamed. Here, we have a film where women aren't seen as sexual objects but sexual beings, this is very different from most films in the industry. Nola is the protagonist, not the slutty damsel in distress co-lead in some romantic movie, she's protrayed as a real, sexual women and I find that transformative!

Spike Lee Films

I think Spike Lee's film She's Gotta Have It is a very transformative film. It can show a part of the world that people are very, very unconfortable talking about, even in privat affairs. The idea that any man can have sex with anyone and virtually come out unscathed while women can't have sex freely without being labeled a harlot or worse is an idea, while controversial, should be explored. It shows how a woman who is comfortable with her sexuality, can have a wild life and still be just as much a person as anyone else. It offers a fresh view of a strange, exotic viewpoint. While this is new and fresh, it is still a fresh wound to people who are sensitive to this kind of subject. It needs more experimentation to show more films that can change sexual stereotypes.

Blog 9

I think Spike Lee's film Love and Basketball is very transformative because of the way he represents the characters.  Although love stories have to involve at least two people, and usually a male and female, the film is still usually focused on mainly the male and his story; whereas, Spike Lee did not only focus on Quincy (the main male lead).  The plot of the film was about Quincy's life but also about Monica's (the main female lead) life journey/story.  Along with that, typical sports films are mainly about a male and his journey through his sporting career, but Spike Lee made his film differently.  Yes, it was about Quincy's journey through basketball, and him wanting to achieve his dream of playing in the NBA; however, it was also about Monica's journey through basketball, and her dream of wanting to play in the WNBA, which is representing a girl having sporting dreams, and that was not typical in sporting films because the general population thought women did have sporting skills.  In a sense, Lee even represented Monica as being a better basketball player and having more skills than her boyfriend/husband, Quincy, and that was really transforming films, especially in the sporting world, because he showed that women do have sporting skills, too, and it is not just a "man's world".  

Hip-Hop Culture

Hip-hop is a subculture within the United States.  As within any other subculture, tragedy plays a huge role in the influence of behavior.  As a form of self-expression, hip-hop lyrics and films depict the lives of urban citizens striving to identify with others through artistic forms.  It is a vicious circle which depicts the lives of everyday urban individuals while also fueling the fire to inspire new atrocities on a daily basis.  However, with media representation as a form of self-expression, it would be extremely hard and somewhat unjust to attempt to censor their work out of fear of inspiring new crime.

Hip-hop

In my opinion I feel as though Hip-hop does reflect on urban atrocities and it also facilitates the behavior that many critique it for in public sphere. Initially, Hip-hop was a form of music genre that allowed the artist to express themselves lyrically. It was an outlet for most people. Through Hip-hop music, people who lived in rough neighborhoods were able to talk about the struggles they went through and the battles they faced while on the streets. It almost in a way raised awareness to people who were unaware of the lives of people who lived in the projects or were open to gang life. After a while, Hip-hop began to facilitate the same behavior that it once reflected upon. Many people in rough neighborhoods looked up to the artist who made songs that talked about killing and shooting and drugs. They too wanted to do and sell drugs. They also wanted to shoot people in order to feel like they belong. Rich children who weren't from the rough neighborhoods also wanted to belong to this new Hip-hop era. A bad portrait began to be painted and now the new depiction of Hip Hop and the people associated with it included violence, guns, gangs, and murders.

Hip Hop Music

I believe that Hip hop music and film don't represent atrocities at all. In my opinion, they represent a lively, differentiated culture. Many critics argue against the violent, often times misogynistic content. Although they have somewhat of an argument at times, it seems that other genres of films and music aren't so frequently questioned.

Take country music, for example. Compared to hip hop, it's just as bad. Country songs often contain violence, alcoholism, and they also generalize and objectify women just like hip hop. So why doesn't country music or rock and roll receive any backlash? Could it be because the majority of country musicians are white?

It seems that critics like to imply that violence, sex, and substance abuse are only problems seen in the black community. I couldn't disagree more with this. To me, the real atrocities lie in the constant notion that one race or one genre is superior or more advanced than the other. Hip hop's place in the public sphere is important simply because ALL tiers of society need to be represented.

Hip Hop Culture

It seems that hip hop does have its faults, but it does have certain redeeming characteristics. While it does show all the violence, heartbreak, and potential death, it does show that someone can rise up from the streets to someone of power and influence. However, it does seem to make light of the subjects that hip hop is all about, namely violence and debauchery. It seems that it just wants people to hate to love  it and love to hate it.

Hip-hop Culture

I think that this weeks blog question is definitely more of an opinion that anything because I feel that there are ways to support both arguments. In my opinion, the idea works both ways. I think that hip-hop film and music perpetuates some of the issues that it addresses because in a way, it glorifies it by showing that it can lead to success. But I also think that the music and film speaks to actual conditions and issues of poor urban areas.

The only critique that I have of films and music is that it sometimes fantasizes these issues and makes them cool, but I think that it is important to talk about the atrocities and violence experienced in these urban areas. So overall, the fact that these issues are being talked about and addressed in some manner is a positive thing even if they aren't always sending the best message to audiences.

Blaxploitation

Black films made in the 70's set a different tone and was influence by a different generation of black culture. Musically the in the 70's the films were influence by mainly by Funk and the films from the late 80's and early 90's were influenced by the emergence of hip-hop culture. The films in the 80's and 90's were a bit more realistic as well although that comes with the territory of time and evolution.

There are some similarities however. Black men are viewed as aggressive, and sexually driven throughout all the blaxploitation films. There are also similar attempts to reshape the way the black male and female are viewed within society. Women are also disrespected often throughout many of the films although there are many roles where they have scenes to assert dominance.

Blog 8

Hip-hop music and Hip-hop films facilitate the behavior that many critique it for in the public sphere instead of reflecting urban atrocities.  Hip-hop music and Hip-hop films have the tendency of singing about or filming about people that are violent, smoke weed, drink a lot, party a lot, people who do not go to school, are thieves, are not going anywhere in life, etc.  By portraying these images, this is where we get our stereotypes because since it is in the media, whether it be a song or film, we think that all people who like Hip-hop must be like that or do that.  These images is what the public wants to hear in Hip-hop music or wants to see in Hip-hop films because it is what sells, but we all must remember that just because it is what may be popular does not mean that it is how every person who likes Hip-hop is.  Yes, I am sure that these images are actually how some people's lives are, but there are also very successful people in the world, who are not violent, do not smoke week and went to school, that really enjoy Hip-hop music and/or Hip-hop films.  The public/media creates these stereotypes/images, and that is the case for this incident.  

Blaxploitation and Gangster films

Blaxploitation is the intentional exploitation of black people especially with regards to stereotype roles in movies. Blaxploitation movies that came out in the 70s were intended for the urban audience but it became popular amongst many. Blaxploitation in the 70s was a new way people could view African Americans in a manner that they had never seen them before. It showed the difference in race and class in urban areas. 

Gangster films were similar to Blaxploitation films except they left out some of the actuality of things in an attempt to be popular to the viewing audience. These films included hard rap and Hip Hop music with very cruel male characters. Gangster films often depicted families living in poverty stricken areas such as the projects. The main characters of gangster films were usually African American boy or many facing hard times. 

Although Blaxploitation and Gangster films hold many differences, they were both similar in a way that they represented the African American life in a manner that was never depicted on the big screen before. Although a hit to many, there were numerous people who found a problem with the two types of films. They both essentially created a stereotype American lifestyle. 

blaxploitation

I do believe that the blaxploitation of films between the 70's and 80's were edger than the films of today. The film makers of today have definitely 'dulled down' the exploitation of African Americans in film. Not saying that blaxploitation isn't still prominent today, but its not as brutal as that of the 70's and 80's. I also found it interesting that Tarantino announced in 2003 that he wanted to do his own 'spaghetti western', yet know accepted his 2012 film Django as anything in that context.  

Blaxploitation

The Blaxploitation films of the 70s definitely have a different feel than the gangsta films of the 80s and early 90s. While both frequently perpetuate a certain violent, Black masculinity, many films of the Blaxploitation era evoke a playful attitude, sometimes reaching cartoon-ish heights. Other, stricter ones (there’s a certain no-nonsense inclination to Shaft, though it became displaced in the sequels) seem to be forebears to the more somber gangsta films. The light genre-film bent of the 70s (often there for easy marketing) disappears into a thicker reality-based air. The music also plays a big role in that switch, with the advent of rap coming after the Blaxploitation boom.

Blaxploitation

Blaxploitation is a sub-genre of exploitation films that were made and found popularity in the 1970s. These films were aimed at urban black audiences but did eventually reach other audiences as well. Like gangsta films, Blaxploitation films also perpetuated black stereotypes, such as pimp and drug dealer; however, the music featured in them varied. Blaxploitation films used funk and soul/jazz soundtracks, while gangsta film usually feature rap and hip hop music.

In Blaxploitation films, women were featured as tough yet not overly tough in order to not upset the gender stereotype; the films also featured strong masculine males as most gangster films do as well. Both film categories feature a lot of violence from street violence and gangs to other forms of violence.

While some have praised Blaxploitation films and gangsta films for representing black people and providing ways to reach success, there are still many that do not agree with the exploitation and focus on stereotypes. One thing is certain though, this sub-genre has played an important part in history.

Blaxploitation & Gangsta Films

I personally do not see huge differences between blaxploitation films and gangsta films (aside from their story lines, and perhaps musical choices), but their overall message is the same.  This is because both genres of films reinforce negative stereotypes about African Americans.  For example, in the reading by Christopher Sieving, the films discussed, Foxy Brown, Coffy, and Friday Foster, all emphasize Pamela Grier's womanhood (AKA her curves/body), while also exemplifying a violent lifestyle, and thus culture.  So, too, do gangsta films.  Gangsta films generally illustrate extreme violence in men, and extreme sexuality in women (i.e. the women are usually objectified and seen as a sexual object - which is what Pamela Grier's character portrayed in the aforementioned films.)  When violence is consistently shown of a culture on the silver screen, widespread beliefs begin to be formed in the mainstream mind about certain cultures (i.e. stereotypes).  There is a difference between exploiting a culture and informing about a culture.

Blaxploitation & Gangster films

Arguably, blaxploitation films started the black centered film. The films were FUBU inspired, thus a more authentic representation of African American experience and thought, and showed the dichotomy of race and class in urban America. Struggling to produce this same authenticity, Gangster films often blurred the lines of actuality and performed reality in a consumer-driven society. Since the films were higher valued and “mass marketed”, Gangster films lost some of blaxploitation’s authenticity and instead started new problems of black representation in relation to violence and criminality. Both had similar thematics of violence and sexualized content, however after blaxploitation, films played more on stereotypical representations rather than real experiences.

blaxploitation

Blaxploitation films are films that came out around the 70s  that featured  black people (men in general). These films were intended for people of urban backgrounds and they were a hit. These films had a lot of stereotypes and showed black people in a way that they weren't ever showed in before.  The stereotypes of the men and women featured in these films are still around in todays movies, its just not as out in the open. Black men were stereotyped as gangsters, pimps, and intimidating; dangerous. which is still seen today in numerous films. The black woman played the role as the sex symbol, dressed scandalous and emphasizing her curves.

All though these movies were extremely stereotyped, I think it was an important part in history in black cinema. It gave black people a chance to do what they wanted with films and not do something they were forced to do.

Blaxploitation

As many can guess, blaxploitation films were originally intended for the urban black audience. However, it exploded in popularity for a multitude of peoples. It turned people on to a new way of viewing black people and now it was on the big screen.
With that in mind, it showed a whole bunch of stereotypes that turned gave a new view on black people. Black boys for example, who did not have a job or were of a teenage age, were very tough, very mean and had little respect for authority. The men were very intimidating, with big muscles and a tendency to fight. Women however, gave a different sort of stereotype. More often than not, they were the jezebel, the manipulator, and always sexy. Older black wome, when they are portrayed, are seen as either clownishly hilarious, or seriously wise.
With that being said, I believe that people are coming to a new enlightenment of black people in cinema, especially since no more blaxploitation films are being made as frequently. However, the stereotypes persist, with the tough black man and the beautiful black woman dominating. Until black people are placed in roles that portray them as often as white people, this may be tough to change.

Blaxploitation/Gangster Films

Blaxploitation films and gangsta movies have a lot of differences, but those some of those aspects actually are actually quite similar in the long run.

Gangsta films often stick to a specific type of music, mainly different versions of hip-hop like Mac Dre in Fruitvale Station or Scarface in South Central. Blaxploitation films stuck to their own genre of music just like gangsta films, mainly featuring jazz and funk from artists like Curtis Mayfield or James Brown.

Both film genres feature the theme of racial discrimination. In gangsta films, black males often face the struggles of a harsh society—they confront poverty, violence, and loss. They deal with heavy subjects and often take place in poor neighborhoods. Blaxploitation films do this as well and they deal a lot with white culture and how it can often be oppressive.

Both films were also criticized for their different stereotypical representations of black people. Though gangsta films seemingly tried to eliminate the previous stereotypes used in Blaxploitation films, they established their own "problem" with representation, accused of depicting criminality with masculine or glorifying connotations.

Though they share a ton of "similar differences", they have some distinct aspects that set them apart. For example, Blaxploitation films made in the 70's usually have a specific, defined look to them just as gangsta films of the 80's and 90's have theirs. Blaxploitation films were sometimes shot with low budgets, using stock footage to fill in empty spaces where the gangsta films of the 80's and 90's often came through large studios with big talent names attached to the projects.

In the end, both genres are entertaining to a certain degree, but still subject to a lot of criticism and controversy.

Blaxploitation & Gangsta Films

Blaxploitation films of the 1970s, according to author Beretta E. Smith-Shomade, were a result of a financial crisis within the movie industry which led to the search of newly targeted demographics.  S. Craig Watkins points out that during this time, the majority of movie-goers were now urban, young, and black.  To entice this new audience, Hollywood produced an abundance of films featuring “blacks as tough, angry, and vengeful […] who protected (and exploited) their communities, pride, and women” (Smith-Shomade, 26).  The most interesting note about these films, as pointed out in her article, is the irony of the genre which is directed towards black men, but was mostly directed by white men. 

In comparison to the Blaxploitation films of the 1960s and 1970s, gangsta films of the late 1980s and early 1990s targeted black youth through relatable contexts, focusing on prevalent urban crime.  Both genres feature black, hyper-masculinized characters who fall on the other side of the law, emphasizing their physicality, mostly through violence. 

The largest difference between the genres, as shown through Smith-Shomade’s essay, is the role of females featured in the films.  The female-centered Blaxploitation films typically showed powerful, masculinized women in roles which held up the law and justice; whereas female roles of the late 1980s- early 1990s placed women in the roles of masculinized crime-doers.  This contrast of the gangsta films to that of its earlier counterparts suggests a shift in women’s roles in contemporary life and allow for the changing gender roles in society.