Reid Chapter 1

The most meaningful concept I learned in chapter one (and throughout the book in its entirety) was the suppression of African American films in general.  I guess I wasn't necessarily surprised by any means, but it was definitely striking to read about how depictions of African Americans in American mainstream cinema were not (are not) exactly accurate.  I find it interesting that Hollywood acts as a gatekeeper for what gets produced and what does not; what gets play time and what doesn't.  To this day, many non-white groups do not get portrayed accurately in film and on TV, and I can't help but wonder why.  To me, this sort of act, namely, suppressing and/or neglecting true representations of African Americans (and many other non-white persons) in mainstream cinema and television, alludes to some deeper intimidation Hollywood has towards these powerful, intelligent people.

Ried Chapter 1

The first chapter was very interesting to me. The things that I recently discovered in the reading is what I found most interesting. I never knew that there were African American filmmakers and film companies as early as 1916. I found most fascinating that although it was a time where racism and discrimination was strongly practiced, African Americans were able to find a way to make their own movies regardless of it being low budgeted and not as great of a quality as other films were. Oscar Micheaux and William Foster were who I was honestly most fascinated by. They were very influential filmmakers. I also found interesting, the LA rebellion. I liked that there was a new wave of cinema as opposed to the norm of Hollywood genre movies. Overall I enjoyed the first chapter. It talked about the rising of African Americans in the film industry witch in my opinion is a great way to start a book.

The Black Female in popular culture

The last representation of Black female in a film that I saw was also 12 Years a Salve. In the film, Lupita Nyong'o portrays Patsey, a young and hardworking slave woman who, despite picking 500 pounds of cotton daily (more than anyone on the plantation,) is still mistreated, objectified, raped, and harassed by her slave owner and abused by his jealous wife. So distraught by her tormented life, Patsey often asks for Solomon's assistance in her suicide, though he refuses.

In the reading, Reid discusses how Black actresses often play a submissive and supportive role compared to their White male counterparts. While one would think that is the case of Patsey, a slave woman, it's not. Like Jared has stated, Patsey's reluctance to give in to her master's desires and demanding the right to keep herself clean (this is a powerful scene, you can watch it here:  http://www.youtube.com/watch?v=_oAX6dR3m0c ) humanizes her and shows her drive, intelligence, and strength that her slave owner lacks.

Reid Chapter One

The most meaningful concept I learned from the reading of the history of Black cinema was about the first two major African American film companies, Foster Photo Play Company and the Lincoln Motion Picture Company. I have only taken one cinema class before and we only focused on Black cinema for about a week, talking mostly about movies made during the Second Renaissance and the UCLA film school so I enjoyed learning about the early history of African American cinema. I think it's important to be aware of the full history of Black American cinema because without that knowledge, it continues to  reinforce the idea that cinema is a White only industry. I mean, I didn't even learn about the history of Black cinema until two weeks ago and I'm 22 years old. With the knowledge I have now, I can further educate myself on my cultural history.

Black Female Representation in American Popular Culture

When discussing contemporary strong Black female actresses, it's hard not to mention Kerry Washington.  From starring in the controversial Quentin Tarantino film, Django Unchained, to holding the prime time spotlight every Thursday night as Olivia Pope on ABC's Scandal, Washington has made a name for herself in these past few years.  Although Washington appeared in other mainstream works prior to the success of the nighttime soap opera, her role as a strong and independent, yet hypersexualized woman plays into and fights black female stereotypes.  It is a common practice in mainstream American society of over-sexualize women, in general, but mostly women of color and Hispanic-descent.  Scandal creator Shonda Rhimes constructed the character Olivia Pope to be strong and a very powerful political figure, but also has her play into this hypersexualized stereotype, as being the mistress to the President of United States.  I find it interesting that Rhimes has brought powerful female characters into the mainstream of American popular culture, promoting interracial relationships (although scandalous in more ways than one), yet still does not allow for Washington's character to gain her power on her own.  For example, in one of the episodes this past fall, they discussed Pope's former extremely powerful boyfriends, each with money and political fame who helped Pope achieve her own political success throughout the character's life.  I find it unfortunate that Rhimes wrote the character this way to depict such a strong woman who still, presumably, cannot make her own political career without the help of powerful men.  Whether Shonda did this intentionally in hopes of creating or more realistic or perhaps flawed character, I don't know.  But the feminist in me was not too pleased.  Reid's chapter discusses both Whoopi Goldberg's characters on interracial relationships and the hypersexualized black female characters in film.

Reid Chapter One

From reading Reid's first chapter in Black Lenses, Black Voices, what stood out the most to me--if I'm being honest--is the exceptionally early Black films produced in America.  In the other film courses I've taken in the past, we never covered early Black cinema but rather the black-face cinema.  For example, Birth of Nation was discussed on several occasions and the impact it had while depicting the old views of the South for Northern and contemporary eyes to see.  Because of this, I truly was surprised--or possibly naive--when learning of the very early Black cinema in America.

Lupita Nyong'o

As I've repeatedly mentioned in class, I recently saw the film 12 Years a Slave. In the film, actress Lupita Nyong'o plays Patsey, a slave woman who happens to be the sexual plaything of the evil white slave driver. In part of Reid's chapter 5, he writes about how certain films depict "Black female protagonists who were equally intelligent to their white lovers". Although Patsey isn't a submissive character, she has no choice but to give in to the slave driver's desires or face death by whipping. She endures all of his fits and angry outbursts, often acting as a voice of reason—telling him the error of his ways as he carries out the awful deed. One example from the film has to do with Patsey's short absence from the house, a time she used to retrieve a bar of soap from the neighbors. After getting drunk, the slave driver wants Patsey but can't find her. After going into a rage, he intercepts her upon her return and violently confronts her, all because of a bar of soap. This film differs from Reid's perspective in a way. Not only is she a supporting character, but she is portrayed in a more humane way than her white oppressor, a sort of symbol for the endurance of Black people throughout the violent tests of time. He is depicted almost demon like, perfectly embodying the evil, plague-like disease that racism is.