HUM3321 Final Study GuideRace/Ethnicity Beltran, The Hollywood RacelessnessThesis- “Given demographic developments, it is not surprising that cinematic action narratives are becoming increasingly multicultural in their focus and aesthetics. Examples of these trends, both Romeo Must Die and The Fast and the Furious, posit through their casting and narratives that the embracing of an idealized “raceless” ethnic identity is key to mastery in the urban environment. Contradictions abound, however, when such narratives are rooted in Hollywood tradition and aim to appeal to white as well as nonwhite audiences” (203).Ethinicity and the Inner City in Hollywood Film- Hollywood has a long history of presenting films that take place in urban, multiethnic, contexts.- Before the 1970s- These films, such as Blackboard Jungle, The Young Savages, and Up the Down Staircase, reflect and reinforce hegemonic notions of race and ethnicity, presenting non-whites as either dangerous or powerless. Up the Down Staircase Trailer- In the 1970s films, particularly blaxploitation films, began to present protagonists with “black authority, power, and control,” but often in violent and/or criminal situations (194).Ethnicity and The Inner City in Hollywood Film: the 1980’s- In the 1980s, images of African Americans in film, most prominently in “buddy cop” pictures, were more positive but generally avoided addressing racial issues.o White police officer partnered with and African Americano Built around recurring central gag or comic relief o On the down low, they worked to keep intact the cultural and moral boundaries of the existing racial order- Lobbying on part of civil rights groups against stereotyping of nonwhites as drug dealers and prostitutes, led to fewer multiethnic and urban-centered movies being made..the 1990’s- The urban action films of the 1990s were largely “motivated by frustration over conditions experienced by blacks in the face of increasing “Apartheid” in U.S. cities” (195).- These films, similar to Blaxploitation films, began to be produced by black film makers and they focused on black subjectivity (were called ghetto films, gangsta dramas…lol)- Some featured complex character development and interrogation of relationship between social structures and obstacles faced by African Americans in low-income inner-city neighborhoods. - Boyz N the Hood Clip Influences on Contemporary Urban Action Films- Cinemas of other nations—particularly that of Hong Kongo Hong Kong crossover stars such as Jackie Chan, Chow Yun-Fat, and Jet Li transformed traditional notions of the heroic action protagonist by playing roles formerly reserved for white actors- Racer exploitation filmso Hybrid genre that involves low-rider teen culture, urban gang movie, cop film and racecar film themes. - Hip-hop cultureo Action narratives tend to emphasize hip-hop in their soundtracks, casting, production, and costume design. o Gangster culture has become associated with hyper masculinity- Multiracial actors began to appear, in order to reflect the ethnic diversity of viewers andwhat the audience wants in their heroes. The Multicultural Millennial Audience- “The evolution of urban action films and their respective heroes have, to a large degree, mirrored national sociopolitical changes” (197).- For example:- Younger Americans have more open views on race than do their older counterpartso Younger generations are more ethnically diverse than their parents’ and grandparents’ generations Whites, for example, are now a minority in CAo More and more families are multiethnico Biracial and multiracial stars are becoming more and more visible.Utopic Multiculturalism in The Fast and the Furious: only the multiethnic will survive- F & F presents a racial utopia (a more optimistic vision) in its representation of contemporary Los Angeles- Most of the racing teams, and most of the extras in the film, are non-white- Box-office appeal is developed by presenting a number of characters whose ethnicity is ambiguous or clearly multiracial- The rules of the street dictate that “racing ability and cultural savvy determine status and leadership, not whiteness or money” (202).However..- While F & F includes a strong contingent of characters of diverse ethnic background,o many of these characters are largely undeveloped.o the white characters who appear in the film have leading roles and often dominate the racing scene.o “Hollywood norms of white beauty” serve as ideals to which the women of color in the film are held accountable. A new kind of leading man- Dom Torretto’s (Vin Diesel) ambiguous ethnicity, his “bronzed whiteness,” helps the filmto navigate the terrain between valuing ethnic diversity and maintaining certain aspects of white hegemony.- Dom’s team, while white, also functions very well in an ethnically diverse context. As such, “Dom’s team is shown to possess both the prized skills and knowledge associated with whiteness as well as those qualities presumably acquired by nonwhites in urban environments” (202).Conclusion- Ideologies “of white superiority and nonwhite subordination continue to have a powerful influence, even while the casting, production design, and other manifest components of the films promote a multicultural aesthetic” (203)o In F & F, white characters still rule the drag-racing subculture, even though they play a marginal role in the actual subculture.o Biracial action heroes are still likely “read” as white.McIntosh, White Privilege: Unpacking the Invisible Knapsack- “As a white person, I realized I had been taught about racism as something that puts others at a disadvantage, but had been taught not to see one of its corollary aspects, white privilege, which puts me at an advantage” (Page 209).- McIntosh argues that white privilege functions in a way that keeps us oblivious to its effects. She reasons that it subtly teaches how to see ourselves:o My schooling gave me no training in seeing myself as an oppressor, as an unfairlyadvantaged person, or as a participant in a damaged culture. I was taught to see myself as an individual whose moral state depended on her individual moral will. My schooling followed the pattern my colleague Elizabeth Minnich haspointed out: whites are taught to think of their lives as morally neutral, normative, and average, and also ideal, so that when we work to benefit others, this is seen as work that will
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