Black and fab. Cis. 23. Libra. ENFJ.
Bay Area. UC Berkeley Alum: Media Studies.
Writer, artist, illustrator, producer, critic, Disney Princessologist.
Benevolent Media Proprietor in training.
It's also my business standard.
Justin Simien, director of Dear White People, joins Fresh Air to discuss his new film and what motivated him to make a satire about race relations and racial identity.
Simien on how “white movies” are just “movies”
"[Recently] Hollywood has gotten more myopic and has to make very specific choices based on how they think the audience will respond when putting a movie through the production pipeline. It’s gotten real crazily bad, I think.
I think TV has gotten it right. Shonda Rhimes has figured it out, getting multiracial casts on television and appealing to everybody. It’s interesting because I haven’t seen that with “white movies,” which most people just call “movies.” They don’t just appeal to white people, it’s taken as given that a white cast represents everyone: A white male in a movie is an everyman type character, whereas a black man in a movie is a black character and it’s a black movie and it’s only for black people.”
you can tell a movie is going to be a shitty, forgettable comedy when the font they use for the movie’s title in advertisements looks
Geoffrey Holder, the native Caribbean who played a crucial role in transforming modern theater, has passed away from pneumonia at age 84. Holder’s imposing 6’6” stature and inimitable baritone voice helped make him a highly influential figure both on stage and in film. The general public knows him as the long-time spokesman for 7 Up in the 1970s and 1980s as well as a familiar face in major motion pictures, such as the 1973 James Bond movie “Live and Let Die” in which memorably portrayed the legendary voodoo icon Baron Samedi. However, theater goers know Holder as the Tony Award-winning talent whose revolutionary methods of presenting theatrical productions earned him world wide acclaim.
Source - CinemaRetro.com
I think an important thing to understand about Hollywood blockbusters is that they are almost never flukes; they are preordained. Sure, we have the occasional surprise indie hit, but you need a lot of money and marketing behind you to become a blockbuster. Just look at the top ten films in each of the last five years: nearly every single one had a budget of more than $100 million (a lot of them were also sci-fi/fantasy films).
Meanwhile, there hasn’t been a single film released this year starring a person of color with a budget of more than $50 million, let alone a sci-fi film, which is naturally going to be more expensive. The same goes for most of the last decade. So for anyone who might say “people just don’t watch sci-fi movies starring people of color,” or “there’s no evidence that this would work,” the truth is that we have no evidence that it wouldn’t work.
“Even more alarming is that, when Latino actors are cast, they are by far more likely than any other group to be sexualized, either by revealing clothing or by being defined in the screenplay as attractive. Indeed, 36% of Hispanic actors are displayed in some sort of sexualized attire, the highest of any group looked at in the study. Hollywood seems to think America is not interested in stories about Latinos, unless they are taking their clothes off.”
Let’s talk about this. Let’s talk about how most of those roles are to be hypersexualized maids, spicy armcandy love interests, and exotic criminals. Let’s talk about how many of these roles use stereotypes to make these characters as the butt of the joke. Let’s talk about though how most of those roles go to light skinned and white Latinas. Let’s talk about how shitty the representation that Latinxs do have is pretty much restricted to bullshit and biopics. (via wocinsolidarity)
Just a few weeks ago, Marvel announced that Captain America would become the next superhero to piss off white fans and become a black person. Commenters on the website threatened to burn their Captain America shirts and ragequit the Marvel fandom. One even said that Marvel was ruining his favorite superhero. Another said that Captain America should always be white because he’s an ICON (sic). White audiences have grown increasingly critical of what they view as “politically correct” culture, in which people of color are being thrown into roles that are historically white simply to please some unspoken rule of diversity.
These commenters, wherever they may pop up on the internet, typically try to phrase their racism in an objective way. They claim that their outrage isn’t because the new character is black, but because the change alters canon, or is historically inaccurate, or is done only for financial reasons. “What if Black Panther became white?” fans often ask, suggesting that the same kind of backlash would be warranted for if the inverse example ever occurred.
And here we have Exodus: Gods and Kings, a movie starring a white guy playing Moses. Moses is a Hebrew born in Africa to an Israeli mother but raised by an Egyptian family. Christian Bale playing Moses is a change of canon. It is historically inaccurate. It is done for financial reason, because Christian Bale is a box office draw. It certainly looks like Exodus fulfills all the checkboxes white fans find so offensive when a black character happens to wander into their line of sight. Yet, there’s so far been nothing but silence from white audiences about the upcoming Christmas blockbuster. Why isn’t anyone threatening to burn their Moses shirts and convert to Buddhism?
The phrase “#1 movie in America” is literally devoid of meaning
every romance ever has starred a girl and are successful in the box office literally what are you talking about im going to pass out
"a small movie"
man shut the fuck up this movie has been one of the most advertised romance movies this year, it’s not SMALL.
what an inspiration this man isn’t