Racialism and the Media. Venise T. Berry
Читать онлайн книгу.
thank my students who have been essential to my research and teaching inside and outside of the classroom. I want to thank my family and friends who understand my obsession with the media and love me anyway. They have tolerated and motivated me throughout my career. I want to thank the black actors, writers, directors, producers, and others who have brought to life the stories and characters I love and hate. I want to thank the University of Iowa, the School of Journalism and Mass Communication, and the African American Studies program for continued encouragement and support. Finally, I want to thank my God and savior Jesus Christ who keeps me lifted up.
←x | 1→
Rochelle Brock and Cynthia Dillard
Executive Editors
Vol. 114
____________________
The Black Studies and Critical Thinking series
is part of the Peter Lang Education list.
Every volume is peer reviewed and meets
the highest quality standards for content and production.
____________________
PETER LANG
New York • Bern • Berlin
Brussels • Vienna • Oxford • Warsaw
Introduction: Racialism and the Media
Look at the poster of King Kong. Now imagine replacing King Kong with Los Angeles Lakers’s basketball champion Lebron James. Draped across James’ left arm is model, Gisele Bundchen in a similar teal dress. His mouth hangs wide open as if he is growling just like King Kong, and in his right hand rather than holding a club he bounces a basketball.
This was the April 2008 cover of Vogue Magazine. It perpetuated a number of issues concerning normalized stereotypes, biased racial framing, and problematic historical myths concerning African American culture. For example: the comparison of black men to apes, the notion that black men are obsessed with white women, and the historical myth that black people coming out of Africa are like apes and have an animalistic or violent nature. This cover fueled a significant amount of controversy concerning racists and racism (Hill, 2008; Lebron, 2008; Morris, 2008; Stewart, 2008). The design of the cover is too close to the King Kong poster to argue that it was not the inspiration. So, why would photographer Annie Leibovitz create it? Is she a racist? Why would Lebron James agree to pose like King Kong? Is he okay with racism? Why would Vogue Magazine use this image on their cover? Are they comfortable perpetuating racism?
In another example, the recent blockbuster movie Black Panther (2018) featured the Jabari Tribe of Wakanda where the leader M’Baku is called Man-Ape. The tribe is known as the White Gorilla Cult and they use the loud, repeated ←1 | 2→grunt of the gorilla during conflict. The Jabari Tribe also lives in the mountains where it is colder, so they wear fur to cover up. In the movie this tribe displayed an aggressive image that could be connected to the historical myth of black men as apes or black people as animalistic. This was apparently part of the original comic book, written by a white man, but why would a black director and writer Ryan Coogler and Joe Robert Cole keep this stereotypical idea of an ape cult in the movie version? Are they racists? Why would actor Winston Duke play a character where the black man is called a man-ape? Is he okay promoting racism?
The purpose of this book is to explore the notion of racialism. Some people suggest that the first Black American president brought with him a post-racial society. It is obvious that that is not the reality. However, the nature of racial ideology has changed in our society. Yes, there are still ugly racists who push uglier racism, but there are also popular constructions of race routinely woven into mediated images and messages.
Racialism is the normalization of racial images and messages that impact cultural representation. Sometimes it is racist and sometimes it is not. Many media ←2 | 3→constructions are based on racial images and messages that have become common and accepted in our society today. It is not a good thing, but it also may not be a racist thing.
The Vogue cover is similar to the King Kong poster, yet is it possible that photographer Annie Leibovitz is not a racist? With what I know about Lebron James, especially beyond his basketball talent, I don’t believe he is okay with racism. And I think Vogue Magazine would probably prefer not to perpetuate racism on their cover. I doubt that Ryan Coogler and Joe Robert Cole would be okay with propagating the Jabari tribe as apes if they saw it as a racist image. And I’m sure Winston Duke didn’t want to promote racism in the dynamic role he played. So, the question is, how do we explain these racial images and messages outside of the extreme notion of racism? My answer is racialism.
In the twenty-first century, we need a more nuanced understanding of racial constructions. Denouncing anything and everything problematic as racist or racism simply does not work, especially if we want to move toward a real solution to America’s race problem. Under the umbrella of racialism, racism is alive and well. Particularly, it encompasses the more historical actions and ideas tied to hate and violence. For example, a white person calling a black person the n-word, hanging a noose in the D. C. National Museum of African American History and Culture, wearing blackface or a KKK robe, and an Alt-Right rally that ends with one person dead and nineteen people injured. These are obvious racist acts. Racism is included under the umbrella of racialism, but my goal is to focus on something else. My focus is on the racial images and messages constructed by the media that do not or should not fall into the loaded category of racism.
Racialism
We live in a society filled with racial situations, messages, practices, and images. In this book, racial constructions are examined using a more nuanced approach. Racialism is a concept that includes, but moves beyond traditional racism. It involves images, ideas, and issues that are produced, distributed, and consumed repetitively and intertextually based on stereotypes, biased framing, and historical myths about African American culture. These representations are normalized through the media, ultimately shaping and influencing societal ideology and behavior.
Specifically, there are four significant areas under the umbrella of racialism. First, the common use of stereotypical images and messages as repetitive ideas about black culture. Second, biased racial framing which involves the shaping ←3 | 4→and creation of black cultural issues in adverse ways. Third, historical myths such as the derogatory use of knowledge and understanding linked to Africa and African traditions. Fourth, traditional racism involving purposeful hatred and malicious acts.
Sawrikar and Katz (2010) argue against the notion of white supremacy being used synonymously with racism because it situates white as the fixed reference point and places it at a higher social power than all other groups. They discuss the need for cultural competency to become the recognition and acceptance of difference with two components that are key: awareness and sensitivity. This means it is important for a person to make sure they have sufficient knowledge (awareness) about a group and that they challenge (with sensitivity) any stereotypes, biased frames, and historical myths encountered.
Delgado