African American film genre analysis - Essay Example

African American Film Genre Analysis Paper: A Look Into Interracial Relationships In Cinema EWS 375: Gender, Ethni and Film Toni - Mokjaetji Humber, Ph.D. Winter 2006 I. Introduction or Rationale for the Topic Broken Blossoms depicts the villain oppressing the innocent, in this case, his daughter. Her only comfort is the company of a "yellow man" who gives her moments of happiness although they are not romantically involved. The idea of a romantic link between the two characters of Lucy and the yellow man would be too much for the 1919 audience to swallow. The movie was also the last of the films which carried integrationist messages. These relationships were depicted as abnormal, unacceptable and impulsive. An example is Spike Lee's Jungle Fever (1991) sets its premise upon the attraction generated by the sexual mythology of different races. The movie runs the typical storyline wherein the lovers Flipper and Angie were the heroes, and racial prejudice was the villain (Bogle 2002). Interracial relationships have been depicted in film for almost a century. These films may or may not reflect the true temper and sensibilities of the periods when they were filmed. Oftentimes, interracial relationships in films toe the line on what is socially acceptable. Otherwise, society through channels as the press and government would raise objections, protests and even civil action against the filmmakers and their actors. It is important to study films dealing with interracial relationships so that we can fully understand how social perceptions and attitudes have evolved through the years. II. Analysis of the Film Genre Interracial relationships in film are considered generally as part of the melodrama genre. Oftentimes, it depicts the battle between good and evil. There is the presence of the protagonist who is repressed by a villain. Those who are innocent are freed from repression and those that are guilty are duly given punishment. Melodrama engages in the discussion of social taboos, among which is interracial relationships. Most of the time, the lovers of different races would conform to the dictates of the period when the film was made. Although interracial relationships become increasingly accepted in societies, it is still not allowed in some U.S. states, notwithstanding the legal approbation to such relationships. It may not also be culturally acceptable to some people or communities. Thus, interracial relationships still encounter varying degrees of objection from various sectors. Thus, a film conforming to the period's norms, would tend to seek conformity from its interracial characters, with the lovers separating. If there is no convenient angle to achieve this conformity to moreses, then the characters may be killed of. In a sense, this also is an application of conformity, with the death of the characters symbolizing punishment for their transgressions (Rhies 2000). The cultural ideology regarding interracial relationships has changed through time. The acceptability of this kind of relationship today is greater than it was three decades ago. Originally, interracial relationships were depicted negatively, emphasizing false perceptions or stereotypes. This was the case with Guess Who's Coming to Dinner (1967) . It is through such negative depictions that the adverse attitude of societies towards interracial relationships is perpetuated (Hodes). III. Film Analysis Guess Who's dealt mainly with the controversy of interracial marriage. At the time the film was made, interracial marriage was still illegal in some U.S. states. The movie broke certain stereotypes. Jack Prentice's being a doctor living in Switzerland may have been deliberate so that he would be suitable for marriage to Joanna, and that his character's only objectionable feature would be his race. John's character, to go against the stereotype image of the African-American of the time, was also a graduate of a top school, became an innovator in African medicine, did not engage in premarital sex even upon the request of his fianc, and also has money to pay for bills and debts. The film also touched on the discomfort experienced by Mr. and Mrs. Prentice, which in many ways mirrored what was being felt by the Drayton parents. It also dwelt on the idea that the parents were questioning the soundness of their son's decision to marry a white woman. The Draytons and Prentices treated themselves cordially, but soon the discomfort of both sets of parents felt became too much to bear, and the "cat had to be let out of the bag", so to speak. Discussion became argument and then afterwards, resolution in the form of a willingness by both parties to understand and work out their differences and prejudices against each other. The film also went into the racism exhibited by blacks on other blacks, when Tillie Binks which was the Drayton household cook, and Mr. Prentice, the doctor's father, remanded John for his presumptions. This scene graphically portrayed through elegant understated acting, the changing attitudes towards racial self perception. The two older characters (Tillie and Mr. Prentice) represented the old attitude that whites were superior than blacks and that blacks would remain second citizens regardless of their personal achievements. In contrast, John's character goes against this very attitude of inferiority, and though not arrogant by any means, acts the same way as whites do without cause for apologies (Bogle 2002). Pinky (1949) dealt with the problem of coming to terms with one's heritage. Having experienced the advantages of being "white" and educated in a Northern nursing school, Pinky knew that being black had more than its share of disadvantages. By falling in love with each other, Pinky and Thomas Adams could marry, and Pinky's dream would be realized. Pinky's love for Thomas was so strong that she was willing to turn her back on her roots and heritage. Her love for Thomas blinded her from the realities of what she is. Her return to the South showed how much Pinky rejected her racial heritage. She came back to the squalor, poverty and racism which she did not experience while in the North. Pinky did not appreciate her grandmother's advice to stay in the South and cease passing as a white woman. She hated the menial work she performed while caring for Miss Em, which seemed to her a reminder of their slave past. She hated Miss Em for advising her to be true to herself and her being. She despised Miss Em's strong character, interpreting it as an example of the racist attitude in her region. She turned her back on things and situations that reminded her of her heritage. That is why she refused to train African American students, when she was offered by Dr. Canady. However, Pinky finally began to open her eyes, seeing and appreciating things for what they are. She saw the inner wisdom of her grandmother, who although a former slave, bore her being such with much dignity and wisdom. She saw Miss Em's inner strength and compassion, despite her illness. She realized that to pass herself as white and marry Thomas would be unfair for the both of them. She realized that such a marriage would be built upon lies and pretensions. The ultimate manifestation of her transformation is the conversion of her inheritance from Miss Em, into a nursery school and clinic. This shows that finally, Pinky has embraced her heritage, both as a woman of African-American heritage and a Southerner. IV. Review Sidney Poitier's character, John Prentice was irresistible. Who would not want to marry someone who was a candidate for the Nobel Prize In fact, the characterization of John Prentice was very white, and broke misperceptions and stereotypes which prevailed in the 1960s. And this breaking away completely from the stereotype of the African American male was done deliberately to emphasize the issue of race in the relationship. However, this different characterization was also effective in bringing across integrationist messages supporting not only interracial relationships, but also the need for society to reassess their perception about other people. This subliminal call for social reassessment as presented in the movie, applies for both whites and blacks alike. The prejudices and contexts of the past, although deeply ingrained in both cultures, need to be overhauled to fit the changing times. The plot of Pinky left nothing to the imagination. However, the instances of racism established the characters effectively. The thug's remark that, "She's the whitest dinge I ever seen," and the event when the police came to her rescue only to arrest her upon learning that she was black were graphic representations of the racism endured by African Americans in decades past (Bogle 2002 and Painetr 1988). The incident when a black woman attacked Pinky with a knife also graphically illustrates the hatred welling within African Americans as a result of white discrimination against coloreds (IMDb). One striking character in Pinky is Granny, portrayed by Ethel Waters, an old laundress known to the townsfolk as Aunt Dicey. Although unable to read, her character "burns with humanity". Her humanity was best established as she washes the dirt from the clothes of the town's white folks, the same people from she experienced racial discrimination, to send money to her granddaughter in the North. Ironically, it is the same granddaughter, Pinky, who abhorred the menial labor done by her grandmother. In another twist of fate, Pinky would eventually result to washing laundry by hand to protect the endowment given her by Miss Em. Her character was that of a strong old woman whose concern was for the whole of humanity, regardless of race, color or creed. As humble and loyal as she was (as manifested by her fidelity to Miss Em), she was also capable of righteous anger as when she learned that her granddaughter passed for white (Bogle 2002). V. Conclusions The study of interracial relationship films is relevant in the sense that it gives us insights on how society has changed its perceptions and attitudes about black and white romantic involvements. It also gives us an approximation, if not an exact, evaluation of how people of times past and current interracial couples vies mixed relationships (Painter 1988). This paper shows that not much has changed in the two decades between the filming of Pinky (1949) and the production of Guess Who's Coming (1967). The negative attitudes, angers and prejudices still exist, although they are as spontaneously acted out in the latter film, as they would have been right after the war. However, both films also show that there have been efforts at reconciliation, even integration of both races. The insights offered by these films, although they may not be documenting historical events, still serves as a storehouse of information, reflecting the racial climate, temper and attitudes of past decades. References: Bogle.D (2002) Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films. Fourth Edition. New York: Continuum. Guess Who's Coming To Dinner (1967) IMDb: Earth's Biggest Movie Database. http://www.imdb.com/title/tt0061735/ Hodes, Martha. Miscegenation. Reader's Companion to U.S. Women's History. Houghton Mifflin College Division: Online Study Center. http://college.hmco.com/history/readerscomp/women/html/wh_023000_miscegenatio.htm Pinky (1949) IMDb: Earth's Biggest Movie Database. http://www.imdb.com/title/tt0041746/ Painter, Nell Irvin (1988) Social Equality,' Miscegenation, Labor, and Power, The Evolution of Southern Culture, edited by Numan Bartley (Athens: University of Georgia Press). Rhies, J.A. (2000). Black Film/White Money. New Brunswick, NJ: Rutgers University Press. Read More