Sunday, July 19, 2020

Has Hollywood finally decided to fight “Reel Life Racism”

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Syed Ahmed Uzair

Article Title

Has Hollywood finally decided to fight “Reel Life Racism”

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Global Views 360

Publication Date

July 19, 2020

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Al Jolson in Warner Bros. publicity photo for the film The Jazz Singer (1927)

Al Jolson in Warner Bros. publicity photo for the film The Jazz Singer (1927) | Source: Wikimedia

Back in the 1960s, when the Civil Rights Movement was slowly gaining momentum in the United States, broadcasting services were employed to gather support for the movement. Images of various kinds of atrocities and violence being rendered to nonviolent Black demonstrators were broadcasted into American houses to raise awareness about the movement.

However, the response of Hollywood so far can be explained in a single word- tragic! Hollywood as a major media and content producer has massively shaped the American culture. However it has not much to show as a positive influence on race issues.

A classic 1940’s musical movie, Holiday Inn had the famous song in which White stars performed in blackface. In a 1980s hit, “Indiana Jones and the Temple of Doom” the Indians are depicted as barbaric and uncivilised. The list of such racial stereotypes is huge to be reproduced here.

Legendary Hollywood actor John Wayne made highly offensive comments in a playboy interview. His exact words are, “I believe in white supremacy until the Blacks are educated to a point of responsibility. I don't believe in giving authority and positions of leadership and judgment to irresponsible people.” He further goes on to make a series of comments, that ideally should not be coming from someone with so much influence in Hollywood.

Many legendary actors and industry icons too have struggled due to racism in Hollywood. Bruce Lee is a fine example of a person who fought against racism in the industry and refused to be cast in many roles that portrayed Chinese people in a negative light. He ultimately moved back to Hong Kong, partly due to the lack of appropriate roles. Actress Lucy Liu has also spoken about how she was too naïve to understand back in the early days as to why her friend would get multiple auditions every day, while she managed two or three in a month.

In 2015, there was a massive uproar regarding the Oscar winners after the academy awarded all 20 nominations to white actors. It quickly gained momentum with the hashtag #OscarsSoWhite becoming a global trend. Before #OscarsSoWhite, no one would have bothered to notice that 86% of top films predominantly featured white actors.

As per a Washington Post survey, film directors who ranked as the most influential decision-makers at Hollywood were predominantly whites. Hollywood might stress for newer reforms against racism on the big screen but that is not the reality at all. To put things into perspective, the Hollywood academy has never revealed information about the diversity of its members involved in the branches of the academy, such as writers, directors, etc.

The response of Hollywood movers and shakers was always akin to a tokenism, a call to push for producing more content involving black writers, producers, and actors.

George Floyd’s death was just the trigger it needed to burst out in the open the pent up anger over the centuries of discrimination, oppression, and systematic injustice meted out to black people. The way black people are portrayed in reel life directly impacts society’s attitude towards them in real life.

People started demanding that Hollywood production companies and studios should involve the people from the community in the decision-making process when the movie plot is based considerably on the members of those communities. They have also demanded that older movies depicting racially insensitive narratives should be taken out of circulation.

Disney, one of the most reputed names in Hollywood, chose to remove the movie “Song of the South” from US distribution, when the criticism for the movie grew, even though it remains available for those who know where to look. They have also announced the plan to revamp the famous Splash Mountain ride at Disneyland and Disney World to include the character of Princess Tiana- Disney’s first African American princess from the movie The Princess and the Frog.

UK TV broadcaster Sky has added a disclaimer to approximately a dozen films stating, “This film has outdated attitudes, language and cultural depictions which may cause offence today."

HBO max recently pulled the iconic film, Gone with the wind because of its controversial depiction of black stereotypes. It returned with a four and a half minute introductory video by black scholar Jaqueline Stewart for a better understanding about racism.

Ever since the resurfacing of the playboy interview of John Wayne, students and alumni at USC have been protesting against Wayne’s exhibit at the campus. However, USC has finally decided to remove the exhibit.

All these reforms are a direct result of the audience being more and more aware of racism and prejudice. However, it is Hollywood’s turn to step up and push for bigger reforms. While it would be a challenging and bold endeavor, Hollywood’s global influence makes it imperative for the industry to undergo much-needed reforms.

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February 4, 2021 4:48 PM

Bias and Nostalgia in Hergé’s Tintin

Some of my fondest memories involve sitting under the guava or the European gumtree, perched on the wall of our garden as the sunlight dappled on an old copy of a Tintin comic. For some years, at least, before the gumtree was cut down, the leaves bore witness to me following the globe-trotting adventures of the Belgian reporter, replete with hilariously-named companions and witty play of words. My nostalgia is as much for the inked characters and words on the paper, as for the musty smell of the oft-thumbed and yellowed pages of the comic, and the permanently romanticized view of the sunny garden. The comics have left a palpable imprint on my sense of humour and love of a certain kind of literature. And perhaps it is this imprint, along with my pleasant nostalgia, that makes it a struggling task to accept Hergé’s racism through his Tintin comics.

Hergé’s (or Georges Prosper Remi’s) writings were, undeniably, a product of their times. His first two series in the Adventures of Tintin comics, Tintin in the land of the Soviets (1929) and Tintin in Congo (1931), have famously been the subject of much debate, since the late 1900s. In Soviets, Hergé offers a crude critique against Marxism – meant to inculcate anti- Soviet sentiments in the European youth at the time, by portraying the Bolsheviks as inherently evil without a full comprehension of how they rose to power or what their political views were.

In Congo, African tribes and leaders are portrayed as either infantile, or in need of saving, to the extent that Tintin becomes the embodiment of fairness for young Africans, even having a temple made after him. Congo itself was a colony of Belgium from 1908 to 1960, one of the two colonies that Belgium governed, and the comics grossly ignore the labour politics of the Congolese and their efforts in both the World Wars. It was not until after the decolonisation of Africa that European perception of ex-African colonies changed.

Much of the modern debate surrounding the banning of select Tintin comics is centred around the depicitons of big-game hunting in Congo and the anti-Semitism in the The Shooting Star. Besides the uncomfortable portrayals of the Congolese, a few panels in the 1931 edition of Congo depicted Tintin drilling a hole into a live Rhinoceros, filled with dynamite, and blown up. In the 1946 edition, this scene was replaced, with Herge apologizing for what he recognized as “youthful transgressions''. In the Shooting Star, the villainous financer was renamed, from the Jewish Blumstein to the innocuous Bohlwinkel.

Hergé’s subsequent works became politically neutral, written after the German occupation of Belgium and the German takeover of Le Vingtième Siècle, the conservative Catholic newspaper he wrote for. While the white-saviour narrative continued with Tintin leading as the embodiment of Europe that “natives” had to follow, the later works are much less politically biased.

However, he prefaced Tintin in America with a critique against the racism in the United States, alongside his anti-imperial stance in The Blue Lotus. He is also known, famously, for not joining with the far-right extremist forces in German-occupied Belgium at the time, as many of his colleagues had. Michael Farr, a British expert on The Adventures of Tintin series, claimed after a meeting with Hergé that “you couldn’t meet someone more open and less racist”. Others have called him an opportunist, heaving towards the side that was popular. Perhaps this was indeed the case, or equally, perhaps Hergé did change his views, and his writings in Soviet and Congo are merely reflective of the predominant Belgian culture at the time.

At any rate, the question still remains: how do we read, or re-read, Hergé (or many such childhood-favourite authors, like Dr. Seuss)? Shelving the books and forgetting the authors is undoubtedly impossible, and misguided besides. A recognition of the biases, and a plethora of context surrounding these texts must be made available at all times. A celebration of a character or a person must not come at the cost of ignoring their uncomfortable stances.

The depiction of Africa in 20th century comics has been abysmal. A tendency of depicting the 'other' as a 'noble-savage' is a familiar concern to those readers who have spent much of their lives in recently liberated colonies. It is, perhaps, especially imperative for such readers to keep this in mind and not repeat them.

In our Consumerist times, it seems, we sometimes forget to start dialogues on themes that are unfamiliar and maybe even uncomfortable to us. We forget which stories desperately need to be told and which have not seen the light of day under the shadow of popular literature.

This, at least, is what I have strived to do: to maintain a balance between nostalgia and a recognition of biases. My memory of the Tintin comics will remain just as romantic as the idyllic memory I started with in the beginning of this article.

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