In the cinema of the United States, the Magical Negro is a supporting stock character who comes to the aid of white protagonists in a film. Magical Negro characters, who often possess special insight or mystical powers, have long been a tradition in American fiction.
Tokenism is the practice of making only a perfunctory or symbolic effort to be inclusive to members of minority groups, especially by recruiting people from underrepresented groups in order to give the appearance of racial or gender equality within a workplace or educational context. The effort of including a token individual in work or school is usually intended to create the impression of social inclusiveness and diversity.
A mammy is a U.S. historical stereotype depicting black women who work in a white family and nurse the family's children. The fictionalized mammy character is often visualized as a larger-sized, dark-skinned woman with a motherly personality. The origin of the mammy figure stereotype is rooted in the history of slavery in the United States. Black slave women were tasked with domestic and childcare work in white American slaveholding households. The mammy stereotype was inspired by these domestic workers. The mammy caricature was used to create a false narrative of black women being happy within slavery or within a role of servitude. The mammy stereotype associates black women with domestic roles and it has been argued it, combined with segregation and discrimination, limited job opportunities for black women during the Jim Crow era, approximately 1877 to 1966.
The Legend of Bagger Vance is a 2000 American sports film directed by Robert Redford, and starring Will Smith, Matt Damon and Charlize Theron. The screenplay by Jeremy Leven is based on Steven Pressfield's 1995 book The Legend of Bagger Vance: A Novel of Golf and the Game of Life. The film is set in 1931 Georgia. It was the final film starring Jack Lemmon and Lane Smith. The film was a box office bomb, grossing almost $40 million worldwide — only half of its budget — and received mixed reviews; it was criticized by several African American commentators and reviewers for employing the "Magical Negro" stereotype.
Kid Colt is the name of two fictional characters appearing in American comic books published by Marvel Comics. The first is a cowboy whose adventures have taken place in numerous western-themed comic book series published by Marvel. The second is a cowboy-themed horse-like superhero.
Rastus is a pejorative term traditionally associated with African Americans in the United States. It is considered offensive.
Characters native to the African continent have been depicted in comics since the beginnings of the modern comic strip. Initially, such early 20th-century newspaper comics as Winsor McCay's Little Nemo depicted the racist stereotype of a spear-carrying cannibal, a comedic convention of the time. African characters later began to appear as another stereotype, the "noble savage" — a similar progression to that of depictions of Native Americans — and eventually as standard human beings.
Reflecting the changing political climate, the representation of racial and ethnic minorities in comic books have also evolved over time. This article is intended to document and discuss historical and contemporary racial and ethnic stereotypes in the medium of mainstream comics.
Stereotypes of African Americans and associated with their culture have evolved within American society dating back to the slavery of black people during the colonial era. These stereotypes are largely connected to the persistent racism and discrimination faced by African Americans residing in the United States.
Stereotypes of white people in the United States are generalizations about the character, behavior, or appearance of white Americans by other Americans in the United States. For stereotypes about Americans by people of other nationalities, see Stereotypes of Americans.
Stereotypes exist of various groups of people as found within American culture. These stereotypes may be disproportionately well known to people worldwide, due to the transmission of American culture and values via the export of American-made films and television shows.
Imaging Blackness is the complex concept of expressing, recognizing, or assigning specific sets of ideas or values used in the depiction of blacks. This depiction can be shown through various forms of media: film, television, literature. More specifically in film, the portrayal of blacks has been imaged and captured throughout history.
The presence of African Americans in major motion picture roles has stirred controversy and been limited dating back decades due to lingering racism following slavery and segregation. "Through most of the 20th century, images of African-Americans in advertising were mainly limited to servants like the pancake-mammy Aunt Jemima and Rastus, the chef on the Cream of Wheat box." While African American representation in the film industry has improved over the years, it has not been a linear process; "Race in American cinema has rarely been a matter of simple step-by-step progress. It has more often proceeded in fits and starts, with backlashes coming on the heels of breakthroughs, and periods of intense argument followed by uncomfortable silence."
The exploitation of women in mass media is the use or portrayal of women in mass media as objects to increase the appeal of media or a product to the detriment of, or without regard to, the interests of the women portrayed, or women in general. This process includes the presentation of women as sexual objects and the setting of feminine beauty ideals that women are expected to reflect. Sexual exploitation of women in the media dates back to 19th century Paris, in which ballerinas were exposed to harassment and objectification. The ballerinas in the Paris Opera Ballet were ogled by their male audience members and often even expected to perform sexual favors for the male subscribers behind the scenes. Feminists and other advocates of women's rights have criticized such exploitation. The most often criticized aspect of the use of women in mass media is sexual objectification, but dismemberment can be a part of the objectification as well.
The angry black woman stereotype is a racial trope in American society that portrays black women as ill-mannered and ill-tempered by nature. Related concepts are the "sapphire" or "sassy black woman."
Gender plays a role in mass media and is represented within media platforms. These platforms include but are not limited to film, radio, television, advertisement, social media, and video games. Initiatives and resources exist to promote gender equality and reinforce women's empowerment in the media industry and representations. For example, UNESCO, in cooperation with the International Federation of Journalists, elaborated the Gender-sensitive Indicators for Media contributing to gender equality and women's empowerment in all forms of media.
Feminist children's literature is the writing of children's literature through a feminist lens. Children's literature and women's literature have many similarities. Both often deal with being seen as weak and placed towards the bottom of a hierarchy. In this way feminist ideas are regularly found in the structure of children's literature. Feminist criticism of children's literature is therefore expected, since it is a type of feminist literature. Feminist children's literature has played a critical role for the feminist movement, especially in the past half century. In her book Feminism Is for Everybody: Passionate Politics, bell hooks states her belief that all types of media, including writing and children's books, need to promote feminist ideals. She argues "Children's literature is one of the most crucial sites for feminist education for critical consciousness precisely because beliefs and identities are still being formed". The cover of hooks' book, drawn by Laura DeSantis, depicts children alongside adults, showing the importance of the youth. The presence of feminism in children's literature has evolved over the years, but the overall message and goals have remained consistent.
Implicit bias training programs purport to expose people to their implicit biases, provide tools to adjust automatic patterns of thinking, and ultimately eliminate discriminatory behaviors. Some researchers say that these implicit biases are learned stereotypes that are automatic, seemingly associative, unintentional, deeply ingrained, universal, and able to influence behavior.
African American cinema is loosely classified as films made by, for, or about Black Americans. Historically, African American films have been made with African-American casts and marketed to African-American audiences. The production team and director were sometimes also African American. More recently, Black films featuring multicultural casts aimed at multicultural audiences have also included American Blackness as an essential aspect of the storyline.
