Whether we are in cinema, economy or politics, there is a great debate concerning the issues of representation in the United States. In fact, it is a permanent debate drawing the attention of people, as it is difficult to assert if a group is well represented. So the question of representation has already and always been debated by university professors and specialists of the issue, and continues to be debated. But some questions are worth asking: at which level can we talk about representation? Or when can we say that a group is actually represented?
These questions lead us to deal with minority representation. Here we want to consider the notion of visibility and invisibility. In the United States there is what we term visible minority and invisible minority. Representation here is not about telling how many African Americans have succeeded in various fields. It is not about the number of Blacks who succeeded in cinema, economy or politics. The issue of representation goes beyond that perception. Of course, it does not imply that the quantity of Blacks advancing socially cannot be taken into account. But the point is that if we look at this, we shall notice that their representation is not that visible. For this reason we find useful to transcend that perception of representation.
Our paper focuses on representation as the fact of being visible in the mainstreams. For instance, concerning minority visibility, can we say that Hispanics and African Americans have the same representation? We do not think so. This is why the notion of visible and invisible minority has to be considered. Representation here is more related to merit. Take for example, the case of the business world, do we know an icon among Hispanics whose visibility is worldwide? Certainly not! However, we have Oprah Winfrey whose fame has reached worldwide as the only Black billionaire. Take also politics with President Obama. And finally, consider American cinema, can we speak about Hispanic or Chinese cinema in the United States today? Certainly not! Yet, we can speak about African American cinema, because it is visible. That is what we have termed as minority visibility.
Table of Contents
INTRODUCTION
PART I AFRICAN-AMERICAN CINEMA
1 A BRIEF HISTORY OF AFRICAN-AMERICAN CINEMA
1.1 Poor Blacks’ Presence on the Screen and Blaxploitation
1.2 The Image of Blacks in Hollywood Films
2 THE 1980s AND 1990s ERAS OF AFRICAN AMERICAN CINEMA
2.1 The Growing Entrance of Blacks in Films and Hollywood
2.2 Julie Dash and Charles Burnett
3 INDEPENDENT FILMMAKERS
3.1 Eddie Murphy
3.2 Spike Lee
PART II AFRICAN-AMERICANS IN THE US ECONOMY: BLACK CAPITALISM
1 OBSTACLES TO BLACK BUSINESSES
1.1 Self-Employed Role Models, Survival Rate and the Lack of Support
1.2 The Problem of Capital and Lending
1.3 The Lack of Education and Business Experience
2 BLACK-OWNED CORPORATIONS
2.1 Black-Owned Businesses and Johnson Publishing Company
2.2 Oprah Winfrey
3 AFRICAN-AMERICANS AND THE BANKING SECTOR
3.1 The Situation of Black-Owned Banks and the National Bankers Association
3.2 The Reality of Black-Owned Banks in today’s America
PART III AFRICAN-AMERICANS IN POLITICS
1 BLACKS IN ELECTIVE OFFICE
1.1 Members of Congress
1.2 Municipal Officials
1.3 The Bradley Effect
2 BLACK POLITICAL REPRESENTATION AND CHALLENGES
2.1 Participation Rate
2.2 The Support of White Voters
3 BLACK MAJOR POLITICIANS
3.1 Reverend Jesse Jackson
3.2 Barack Obama
Objectives and Themes
The primary objective of this work is to evaluate the socialization and representation of African Americans within the United States across three core sectors: cinema, the economy, and politics. The research investigates how this minority group has transcended systemic marginalization, focusing on the concepts of visibility and merit-based advancement in mainstream American society during the 1980–2010 period.
- Analysis of African American cinematic evolution, specifically the shift from blaxploitation to independent filmmaking.
- Evaluation of "Black Capitalism," including obstacles such as lack of capital, education, and banking discrimination.
- Examination of the political breakthrough of African Americans, including the role of the Voting Rights Act and the support of white voters.
- Investigation into the influence of icons like Oprah Winfrey, John Johnson, Spike Lee, and Barack Obama in shaping visibility.
Excerpt from the Book
1- Poor Blacks’ Presence on the Screen and Blaxploitation
With regard to the presence of Blacks in films, we may say that it was actually a problem. Of course, the presence of Blacks was limited in Hollywood moviemaking, not because they were not talented actors, on the contrary, they were skilled performers. The problem was at another level; Hollywood was always featuring Caucasian actors instead of black ones. So we come to realize that it is a problem of discrimination or racism, which Hollywood personified. This is what could explain the limitation of African-Americans on the screen during the 1970s and early 1980s by Hollywood.
In effect, in the book of Ploski and Williams, the authors confirm that there were less and less Blacks showcasing in films during the early 1980s. They report that it had drawn the attention of the National Association for the Advancement of Colored People (NAACP), which demonstrated against Hollywood in order to have more Blacks in its films. Obviously, it appears to us that if the NAACP demonstrated, it is a proof that the issue was very serious. It also denotes the desire of Hollywood to make a cinema that does not feature a black actor. Therefore, what could Blacks do about it given that the situation had prevailed since the 1970s?
What are the factors that participated in the emergence of African-Americans in American cinema?
Surrounded by such a segregated filmmaking environment, African-Americans have started to make their own films, those films often depicting Blacks as heroes. Indeed, the black audience was tired of watching white actors in films. So, the question was what was the place of African-American cinema? These films were known as blaxploitation films. They really gave pride to the African-American community. In fact, this type of filmmaking was describing the social and economic realities of Blacks, and black audiences did appreciate them. As blaxploitation was successful, Hollywood began to be interested in it. These movies were generally low-budget movies but returning high profits, Hollywood began to explore blaxploitation films in the studios in the very purpose of making a lot of profit out of them.
Summary of Chapters
INTRODUCTION: The introduction establishes the debate surrounding minority representation and introduces the theoretical framework of "visible" versus "invisible" minorities in the United States.
PART I AFRICAN-AMERICAN CINEMA: This section details the history of African American cinema, tracing the shift from limited, stereotypical roles in the 1970s toward the rise of influential independent filmmakers in the 1980s and 1990s.
1 A BRIEF HISTORY OF AFRICAN-AMERICAN CINEMA: This chapter covers the historical struggles of black actors in Hollywood and the emergence of the blaxploitation genre as an initial response to discrimination.
2 THE 1980s AND 1990s ERAS OF AFRICAN AMERICAN CINEMA: This chapter highlights the era of independent black filmmaking, focusing on directors who prioritized their own stories over Hollywood mandates.
3 INDEPENDENT FILMMAKERS: This chapter scrutinizes specific influential figures like Spike Lee and Eddie Murphy, examining how their success challenged traditional industry norms.
PART II AFRICAN-AMERICANS IN THE US ECONOMY: BLACK CAPITALISM: This part analyzes the socio-economic advancements of African Americans and the challenges inherent in establishing a foothold in the American business landscape.
1 OBSTACLES TO BLACK BUSINESSES: This chapter discusses structural hurdles such as the lack of role models, survival rates of small businesses, and insufficient community support.
2 BLACK-OWNED CORPORATIONS: This chapter highlights success stories in corporate America, specifically looking at the impact of the Johnson Publishing Company and the entrepreneurial achievement of Oprah Winfrey.
3 AFRICAN-AMERICANS AND THE BANKING SECTOR: This chapter examines the historical difficulties black-owned banks have faced regarding capitalization and the role of the National Bankers Association.
PART III AFRICAN-AMERICANS IN POLITICS: This part explores the political journey of African Americans, focusing on elective offices, the role of voters, and the shift toward deracialized campaign strategies.
1 BLACKS IN ELECTIVE OFFICE: This chapter reviews the representation of African Americans in Congress and the impact of the Voting Rights Act of 1965.
2 BLACK POLITICAL REPRESENTATION AND CHALLENGES: This chapter explores the nuances of representation and the increasing importance of gaining support from white voters.
3 BLACK MAJOR POLITICIANS: This chapter analyzes the presidential runs of Reverend Jesse Jackson and Barack Obama, comparing their strategies and outcomes.
Keywords
African American, representation, Hollywood, blaxploitation, Black capitalism, entrepreneurship, independent filmmaking, civil rights, politics, visibility, marginalization, racial discrimination, Barack Obama, Oprah Winfrey, economic power
Frequently Asked Questions
What is the core subject of this publication?
The work explores the social, economic, and political socialization of African Americans in the United States, investigating their efforts to gain representation and visibility in mainstream society.
What are the primary fields analyzed in this research?
The study centers on three specific arenas: American cinema, the US economy, and the political landscape.
What is the main research question of the document?
The author questions whether African American representation in these sectors is a myth or a reality, specifically focusing on the transition from marginalization to visibility through merit and independent action.
Which scientific method is utilized throughout the text?
The work employs a postmodern approach, focusing on identity, power dynamics, and the questioning of existing social structures that historically excluded minority groups.
What does the main body focus on?
The main body breaks down the progress in cinema through independent producers, the growth of "Black Capitalism" despite structural obstacles, and the evolution of political influence from basic voting rights to the presidency.
Which keywords define this work?
Key terms include representation, African American cinema, Black capitalism, marginalization, visibility, and political socialization.
How does the author characterize the impact of Spike Lee?
The author considers Spike Lee as a pivotal figure who ended the blaxploitation era by proving that films about the African American experience could be both critically and commercially successful with diverse, multi-racial audiences.
What is the "Bradley Effect" as described in the text?
It is a phenomenon where white voters tell pollsters they are undecided or willing to vote for a black candidate to avoid being perceived as racist, but ultimately cast their vote for the white opponent.
How does the text link the "Black Dollar" to community support?
The author discusses the dilemma of low spending within the Black community, noting that while Black economic power is vast, a significant percentage of capital is not reinvested in Black-owned businesses, hindering their corporate growth.
Why is the election of Barack Obama significant in the context of this study?
It represents, in the author's view, the highest level of African American political achievement, proving that a black candidate can win by successfully garnering overwhelming support from the white electorate, thereby signaling a shift in American racial dynamics.
- Citar trabajo
- Dr. Jean Cédric Obame Emane (Autor), 2010, African-American Representation in US Cinema, Economy and Politics (1980-2010). Myth or Reality?, Múnich, GRIN Verlag, https://www.grin.com/document/441313
