How has the role that African Americans in films developed over time? Beginning with the 1939 period through the modern period, this essay will utilize past films to illustrate the African American actor and how the racism and roles have changed. In the end, this work will have considered past practice, modern policy and future potential for the African American in the film industry.
A film heralded as a portrayal of Southern life, that portrayed the African American in a very racist regard, has been argued to be Gone with the Wind of 1939 (Filmslatemagazine.com 2). This cultural film celebrated the Black race as slaves and subject to rampant forms of subjugation. This portrayal of the African American race in a state of subjugation was reflective of the cultural values found in the United States during this period (Filmslatemagazine.com 2). This early form of racism in film was slow to give ground to the more moderate view.
As society began to accept the African American as more of an equal racism while still very present in the film and society was reduced (Harris 308). The necessity of the unification of the races was reflected in the recruiting films of the forties such as the Negro Soldier (Harries 354). The depiction of the Black person in this film focused on the strength that was available to them rather than the racist aspects. With the filming of Guess Who’s coming to Dinner with Sidney Poitier in the 1960’s, there was a clear indication of a more liberal view to be found in the mainstream society (Harris 308). While the African American was depicted as a source of debate, the overt racist tone was beginning to disappear from film as a whole.
The period during the 1970’s were arguably about producing money, the exploitation of the African Amrican, rather than building the social agenda (Lommel 1). Actors including Poitier worked behind the scenes in films including Uptown Saturday Night, with Bill Cosby in a continuous drive to decrease of the racist depiction of the Black person in film (Lommel 2). Further with movies such as Mandingo, the entire method of depicting the African American slavery experience was revisited. At this point, there was a real sense of growing equality of depiction in film.
The modern period of film and television has witnessed the acceptance and positive depiction of the African American actors including Bill Cosby, Eddie Murphy, Morgan Freeman, Queen Latifah and megastar Oprah, each using their star quality to reduce racism and enhance the standing of the African American actor/actress in the film industry (Filmslatemagazine.com 3). With every instance of opportunity the African American community has exceeded the expectations and served to transform the film industry for the better. Off-screen roles for the African American writer are still hard to come by with Black directors only making up four per cent of the Directors Guild of America (Filmslatemagazine.com 3). This illustrates that while the African American community has come a long ways in the industry, there is still a great deal of work to be done.
The African American role has evolved tremendously since the 1939, and the attendant elements of racism have gradually been reduced. Beginning with the role in films such as Gone with the Wind, the African American actor has been accepted on many more levels. With leaders including Sidney Poitier, Oprah and Bill Cosby, the African American community has utilized their talent to continually provide an illustration of why all races are equal.
Works cited
"African-Americans on Screen, 1903 to Present: TCM Film Festival Hosts a History of African Americans in Cinema | FilmSlateMagazine.com." Filmslatemagazine.com, 2013. Web. 5 Dec 2013. <http://www.filmslatemagazine.com/filmmaking/turner-classic-movies-film-festival-african-americans-on-screen>.
Harris, Robert L and Rosalyn Terborg-Penn. The Columbia guide to African American history since 1939. New York: Columbia University Press, 2006. Print.
Lommel, Cookie. African Americans in film and television. Philadelphia: Chelsea House Publishers, 2003. Print.
