The Magical Negro is a trope in American cinema, television, and literature. In the cinema of the United States, the Magical Negro is a supporting stock character who comes to the aid of the protagonists in a film. Magical Negro characters, often possessing special insight or mystical powers, have long been a tradition in American fiction. The old-fashioned word "Negro" is used to imply that a "magical black character" who devotes himself to selflessly helping whites is a throwback to racist stereotypes such as the "Sambo" or "noble savage".
An exploitation film is a film that tries to succeed financially by exploiting current trends, niche genres, or lurid content. Exploitation films are generally low-quality "B movies", though some set trends, attract critical attention, become historically important, and even gain a cult following.
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.
Stereotypes of African Americans are misleading beliefs about the culture of people with partial or total ancestry from any black racial groups of Africa whose ancestors resided in the United States since before 1865, largely connected to the racism and the discrimination to which African Americans are subjected. These beliefs date back to the slavery of black people during the colonial era and they have evolved within American society.
Stereotypes of Indigenous peoples of Canada and the United States of America include many ethnic stereotypes found worldwide which include historical misrepresentations and the oversimplification of hundreds of Indigenous cultures. Negative stereotypes are associated with prejudice and discrimination that continue to affect the lives of Indigenous peoples.
Dr. Black, Mr. Hyde is a 1976 American blaxploitation horror film loosely inspired by the 1886 novella Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. The film stars Bernie Casey and Rosalind Cash, and was directed by William Crain. Along with Crain, and it was written by Larry LeBron and Lawrence Woolner with cinematography by Tak Fujimoto. It was filmed primarily in Los Angeles, at locations such as the Watts Towers.
Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s, when the combined momentum of the civil rights movement, the black power movement, and the Black Panthers spurred African-American artists to reclaim the power of depiction of their ethnicity, and institutions like UCLA to provide financial assistance for African-American students to study filmmaking. This combined with Hollywood adopting a less restrictive rating system in 1968. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. After the race films of the 1940s and 1960s, the genre emerged as one of the first in which black characters and communities were protagonists, rather than sidekicks, supportive characters, or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.
The portrayal of Native Americans in television and films concerns indigenous roles in cinema, particularly their depiction in Hollywood productions. Especially in the Western genre, Native American stock characters can reflect contemporary and historical perceptions of Native Americans and the Wild West.
Racism in early American film is the negative depiction of racial groups, racial stereotypes, and racist ideals in classical Hollywood cinema from the 1910s to the 1960s.
Blaxploitation horror films are a genre of horror films involving mostly black actors. In 1972, William Crain directed what is considered to be the first blaxploitation horror film, Blacula.
The representation of African Americans in speech, writing, still or moving pictures has been a major concern in mainstream American culture and a component of media bias in the United States.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
The angry black woman stereotype is a racial stereotype of Black American women as pugnacious, poorly mannered, and aggressive.
The white savior is a cinematic trope in which a white central character rescues non-white characters from unfortunate circumstances. This recurs in an array of genres in American cinema, wherein a white protagonist is portrayed as a messianic figure who often gains some insight or introspection in the course of rescuing non-white characters from their plight.
Racial stereotyping in advertising refers to using assumptions about people based on characteristics thought to be typical of their identifying racial group in marketing.
The relationship between race and video games has received substantial academic and journalistic attention. Games offer opportunities for players to explore, practice, and re-enforce cultural and social identities. Because of the multifaceted cultural implications of video games, there may be issues of race involved in the player base, the creative process, or within the game's universe. Video games predominantly created and played by one racial group can unintentionally perpetuate racial stereotypes and limit players' choices to preconceived notions of racial bias, and issues of representation and harassment may arise in the industry and the player community.
The term white savior is a critical description of a white person who is depicted as liberating, rescuing or uplifting non-white people; it is critical in the sense that it describes a pattern in which people of color in economically under-developed nations that are majority non-white are denied agency and are seen as passive recipients of white benevolence. The role is considered a modern-day version of what is expressed in the poem The White Man's Burden (1899) by Rudyard Kipling. The term has been associated with Africa, and certain characters in film and television have been critiqued as white savior figures. Writer Teju Cole combined the term with "industrial complex" to coin "White Savior Industrial Complex".
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.
The Indian burial ground trope is frequently used to explain supernatural events and hauntings in American popular culture. The trope gained popularity in the 1980s, making multiple appearances in horror film and television after its debut in The Amityville Horror (1979). Over time the Indian burial ground trope has become viewed as a cliche and in its current usage it commonly functions as a satirical element.
Black horror is a horror subgenre that focuses on African-American characters and narratives. It is largely a film genre. Black horror typically, but not always, has Black creators. It often has social and political commentary and compares racism and other lived experiences of Black Americans to common horror themes and tropes. Early entries in the genre include the 1940 Spencer Williams Jr. film Son of Ingagi and the 1968 George Romero horror film Night of the Living Dead, which is considered one of the first Black horror films for having the Black actor Duane Jones in its lead role. Blaxploitation horror films of the 1970s, namely Blacula (1972), and the vampire film Ganja & Hess (1973) became prominent examples of Black horror films in the 1970s. Other Black horror films appeared during the 1990s, notably the 1992 Bernard Rose film Candyman and the 1995 anthology film Tales from the Hood, which was directed by Rusty Cundieff and has been described as the "godfather of Black horror".
