Introduction
The politics of racial representation has always manifested itself in most of the films or shows present in the media scene. According to social scientists, there exist different forms of racism. This includes racism defined in the context of modernism and the traditional racism of segregation. In the traditional perspective, the black Americans were always portrayed to be non-civilized, they only belonged to the fields and the offices were meant for the whites in the United States of America. In addition, it is evident that most of the films have portrayed the black Americans as violent in most episodes. Most slavery parts have been given to the blacks. This can be evidenced from the current scenes of most Latin-American films whereby, the role of a servant in most instances, have been given to the black Americans. Cosby is a show that has tried to fight the beliefs that were bestowed upon the black Americans. Through Cosby’s show, it is evident that he avoided showing the real role of racism in the black American society when compared to the whites (Browne 176). This paper demonstrates more of the politics of racial representation in Cosby show.
The most common perception of black communities to be portrayed in most instances as non-thought-full creatures in most instances is seen differently in Cosby show. In most films and shows, the black communities have been given a picture of always being given guidance on how to go about most of their duties and all the other events. In Cosby show, there exist a turn of event. The black individuals in the society have been given the role that depicts them to be thoughtful and achievers. Throughout this show, the black Americans have been pictured to be intelligent in any activity that they are called to carry out (Browne 177).
However the former black Americans or black Africans were never known to be successful in nature, even from the look of events of the number of whites out doing the number of blacks being successful, Cosby show tries to bring out the African American individuals as being successful by nature. As much as this show tries to portray the blacks in a positive image, it has not considered the roles that they played just before the actualization of stop of slavery and racism. This show gives a break to the common media stereotypical issues that are related to the black community (Browne 177).
However, should this be rated nationally, it can only receive one percent of top most dignified family’s incomes. For the whites viewing this show, the Huxtable family is a portrayal of worsened conditions that is evident in the black society; hence they are only a role model to their fellow poor African Americans (Bennette 34). This can be attributed to the fact that, Cosby who is the main writer and director of the show is an African American and would want to give his culture more credit than what they actually deserve. Most of the scenes through this show only remind the audience of the hidden racism behind every act. Thus, in this show there exist no connection of the social status of black Americans but he chooses to ignore the fact that blacks have less income and prosperity level as compared to the whites due to colonization and slavery period (Bennette 34).
The role played by a typical father in a black family has also been brought out differently in this show. Traditionally, the black fathers were considered to be irresponsible and Cosby has tried to condense this racial character given to black fathers. In this show, he acts as the role model that has ever existed in the form of a black father. He is the model father of the whites. This indicates that while writing the script for this show, he has in mind that the blacks in the society have always been known not to be responsible. He also covers the notion that African American fathers have always been known to be absent in their family lives (Brownstein 5).
For the blacks, during this period, it was difficult to find a lawyer or a doctor or other greatly viewed professions in the society. This is due to the reason that, most of the African Americans were used as slaves in the fields and thus, they had limited access to education. Most of the films shot during this period have depicted the real character and role that the African Americans played in the society (Brownstein 5).
There is also the issue of division of chores. To cover the common black perception of the woman always belonging to the kitchen and handling household chores, this show uses the character, Rashad to give a different picture. For example, in one of the scene, he declares that it was his turn to prepare dinner. Unlike prior perceptions of sexism, Cosby has given a different meaning of sexism. Such episode only signifies the racism culture of black subservience and white’s power (Bennette 35).
Even the blacks viewing this show recently admit that racism is still a key issue and has not been given the right picture in Cosby show. Legal gains for the blacks in the year 1960s and the 1970s cannot be measured to the level that Cosby tries to imply. There has never been given equal opportunities genuinely given to the African Americans even in the current society. The black race when compared to the whites have been given higher rating by Cosby for attaining higher education and attaining success contrary to the fact that, most whites to date are the highest education achievers. This is because, in most instances, they have access to the right resources for education unlike to African Americans who have to work extra harder to reach the same level (Brownstein 5).
Conclusion
For the whites viewing this show, there are always questions of racism. Most of the black Americans are known to have undergone slavery, low educations level and to have non-responsible fathers. However, Cosby’s show tries to give credit to African American community despite the fact that, racism still exists. The traditional racism has been covered to bring out positivity.
Works cited
Browne, Nick. 'The Political Economy of the Television (Super) Text" Quarterly Review of Film Studies 9 (2000): 175-182.
Bennett, Tony, and Janet Woollacott. Bond and Beyond: The Political Career of a Popular Hero. New York: Methuen, 2003.
Brownstein, Ronal. "Questions of color:Dividing by Race in America." Los Angeles Times 27 May 2009: 5.
