Black and fab. 23. Libra. ENFJ.
Bay Area. UC Berkeley Grad: Media Studies.
Writer, artist, illustrator, producer, critic, Disney Princessologist.
Benevolent Media Proprietor in training.
It's also my business standard.
idg how actors can still, without a hint of embarrassment, embrace woody allen
i mean, igss it gets you oscars but wow
Let’s also focus less on how Emma Watson’s taking parts in problematic films, which she seems to be doing largely because her managers tell her it’s the only way to make it past Harry Potter, and more on how James Franco, Seth Rogan, Jonah Hill Jay whatsisface, and Cahnning Tatum made uncomfortable sex jokes and rape jokes around her until she was so uncomfortable she left halfway through filming This is the End- but by contract had to still be in the movie.
Let’s talk about how Evangeline Lilly signed onto the Hobbit movies on the condition that her character not be in a love triangle, and everyone involved rewrote the character so that she was, and she couldn’t leave. Let’s talk about how actresses are signed into films whose final products are the opposite of what they want to be a part of, and still wind up on-screen playing terrible, problematic, sexist roles, or even being sexually harassed and assaulted while on set. Let’s talk about the implications of an industry where women have no control over the part they play or the story they’re used to tell, and are forced to make difficult decisions about which producers and directors will and won’t completely screw them over.
Jaume Collett-Serra, or as The Mary Sue describes it, the “director of the cancelled white-washed live action Akira” who is “still trying to make [whitewashed] live action Akira.
Today it was revealed, by Harvey Weinstein no less that Anne Hathaway was originally cast to play Tiffany in Silver Linings Playbook, and Mark Wahlberg was set to play Pat. Each role eventually went to Jennifer Lawrence and Bradley Cooper. Anne left over creative differences with David O Asshole and Mark starred in Three Kings so he knew shit with David O Asshole, was darksided from the start.
50% of the profits of multinational film companies accrue from the screens of the Third World. Thus each of our countries unknowingly contributes substantial finance to the production of films distributed in Paris, New York, London, Rome, or Hong Kong. They have no control over them, and reap no financial or moral benefit, being involved in neither the production nor the distribution. In reality, however, they are coerced into being “co-producers.” Their resources are plundered.
The United States allows less than 13% foreign films to enter its market - and most of these are produced by European subsidiaries controlled by the US majors. They exercise an absolute protectionism.
Most important is the role of the cinema in the construction of peoples’ consciousness.
Cinema is the mechanism par excellence for penetrating the minds of our peoples, influencing their everyday social behaviour, directing them, diverting them from their historic national responsibilities. It imposes alien and insidious models and references, and without apparant constraint enforces the adoption of modes of behaviour and communication of the dominating ideologies. This damages their own cultural development and blocks true communications between Africans and Arabs, brothers and friends who have been historically united for thousands of years.
This alienation disseminated through the image is all the more dangerous for being insidious, uncontroversial, “accepted,” seemingly inoffensive and neutral. It needs no armed forces and no permanent programme of education by those seeking to maintain the division of the African and Arab peoples - their weakness, submission, servitude, their ignorance of each other and of their own history. They forget their positive heritage, united through their forefathers with all humanity. Above all they have no say in the progress of history.
Can we talk about the way racist exclusions of non-white people is perpetuated in the media?
First: you have a whole bunch of traditional books,films, comics, tv shows and other media created for white people by white people using all white characters and white history to tell their stories. This was due to high levels of racism that was of course ubiquitous at the time. Fine. Cool. Whatever.
And of course at this same time it was virtually impossible for non-white film makers and storytellers to do the same thing for themselves and carve out spaces in mainstream Euro-American media because again, racism, of course. Cool. Whatever.
Now, decades later, you have all this media being reproduced and introduced to generation after generation over and over again. It’s being reproduced because it has had time to simmer in popular culture and has thus, become extremely profitable. An opportunity non-white media has very rarely had. Keep in mind, the media being reproduced is the same media that historically excluded non white people because of racism.
Fast forward to present day, you have people justifying the perpetuation of this exclusion because- well, that’s how the story was originally was. It was originally set in a white area. It originally has white characters. etc and so forth. Fans just want to be~ true to the story~. “Don’t force race into it. It’s just the story”
Also,remember because white media is what audiences are accustomed seeing, it’s the safest tried and true way to gain profits- movie makers KEEP doing all white stories, or mostly white stories, mostly white lead characters, hiring white writers etc.
This my friends, is how racism and white supremacy reproduces itself automatically. You don’t even need to put any malice or effort into it to upkeep it. All you need to do is sit back and do nothing. It’s truly amazing.
We’re all just watching the White Globes like
PoC can’t even get funding for their films but a movie could come out bout a white man in love with Siri
Happy Birthday Anna May Wong! (January 3rd, 1905 - February 3rd, 1961)
She called herself The Woman of a Thousand Deaths because her screen characters — racist stereotypes of dragon ladies, prostitutes, and jilted mistresses — inevitably died, and she left Hollywood when the lead Chinese female role in the big budget production of “The Good Earth” went to a white woman with her eyes taped (for which she won an Oscar). Yet Anna May Wong lives on, on film, in pictures, on paper, a Chinese American pioneer who used not only her beauty but her voice and her written words to speak out for herself and her people.