Fanon in “The Negro and Psychopathology” delves into the psychological repercussions of racism and colonialism on Black individuals, highlighting the internalization of negative stereotypes and its manifestation in neurosis. Fanon discusses how cultural indoctrination can lead to alienation and neurotic behaviors, emphasizing the importance for Black individuals to confront and overcome internalized oppression for genuine self-realization.
bell hooks in “Oppositional Gaze: Black Female Spectators” explores the concept of the "oppositional gaze" of black female spectators in relation to mainstream cinema, and discusses how black women have developed critical viewing practices that resist and challenge the racist and sexist representations of black women on screen.
Audre Lorde in “Age, Race, Class, and Sex: Women Redefining Difference” shows the importance of recognizing and embracing differences between women, particularly differences of race, sexuality, class, and age, to build a strong feminist movement. Lorde argues that ignoring these differences and pretending that a homogeneous "sisterhood" exists is a failure to confront the very real oppressions faced by women of color, lesbians, the working class, and the elderly.
Robert Stam and Ella Shohat wrote “Stereotype, Realism, and the Struggle Over Representation'' to analyze representation of ethnic and racial minorities in film, particularly the limitations of a "stereotypes and distortions" approach. It argues for a more nuanced analysis that considers the orchestration of discourses, perspectives, and voices within films rather than just the accuracy of character portrayals.
This paper will analyze how Watchmen explores the identities of its characters, like Angela and Jon Abar, by authentically portraying different aspects of their identity, especially race and gender, employing innovative storytelling techniques to achieve these explorations. By delving into Angela's grandfather’s ancestral memories in black and white and depicting the non-linear events of experiences of Jon and Angela’s journey in episode 8, the show not only embraces their identities but also utilizes these aspects to enrich their character development and deepen our comprehension of their narratives.
The analysis will initially examine the shared themes among Fanon, hooks, Lorde, and Stam and Shohat’s papers, before delving into their divergent perspectives. Through Reeve’s pivotal transformation scene into Hooded Justice and the moment between Angela and Jon, where they decide on Jon's new identity to hide his true form, the paper will explore how the ideas presented in these readings intersect, demonstrating the efficacy of episodes 6 and 8 in exploring and expanding upon the characters' identities.
These readings all investigate the psychological and social repercussions of their respective issues, particularly racism, sexism, and stereotyping on marginalized groups, emphasizing how entrenched cultural narratives perpetuate harmful stereotypes and oppressions, while advocating for the empowerment and redefinition of marginalized identities through resistance, self-representation, and collective action against oppressive systems.
Fanon's reading shows how dominant cultural narratives and representations, such as those found in children's magazines and literature, are perpetuating harmful stereotypes and oppressions against Black people. He argues that these narratives, created by white authors for white children, often depict Black people as evil and savages, which then lead to the internalization of these negative stereotypes by Black children, who also digest these narratives as children. As Fanon states, "In the magazines the Wolf, the Devil, the Evil Spirit, the Bad Man, the Savage are always symbolized by Negroes or Indians; since there is always identification with the victor, the little Negro, quite as easily as the little white boy, becomes an explorer, an adventurer, a missionary 'who faces the danger of being eaten by the wicked Negroes.'" (1) To counter this issue, Fanon advocates for the creation of empowering narratives and representations specifically for Black children through the media they consume, such as magazines, songs, and history texts, to shape their worldview and identity in a positive way that allows them to embrace their race.
hooks similarly examines how dominant cinematic narratives have perpetuated harmful stereotypes of Black women, citing the portrayal of "Sapphire" in Amos 'n' Andy as an example: "was not us. We laughed with the black men, with the white people. We laughed at this black woman who was not us." (2) She underscores how these representations deny the full humanity of Black women, advocating instead for the development of an "oppositional gaze" as a form of resistance. This gaze, she argues, empowers Black women to challenge oppressive narratives and assert their subjectivity and humanity in the face of erasure or degradation. By rejecting the limiting roles assigned to them and reclaiming their agency through critical engagement with media, Black women can assert their voices and reshape dominant narratives to reflect their lived experiences and complexities.
Audre Lorde dives into the ways dominant cultural narratives and representations perpetuate harmful stereotypes and oppressions, arguing that these narratives fail to recognize and address the diverse experiences of marginalized groups, including women of different races, classes, sexualities, and ages. She contends that attempting to use the tools and structures of oppression to dismantle the systems that created them is futile, as evidenced by the maxim, "the master's tools will never dismantle the master's house." (3) She also critiques academic feminism for its neglect of these differences, which leads to a false sense of homogeneity under the banner of sisterhood. Lorde contends that confronting and dismantling distortions such as racism, sexism, ageism, and others is essential for true empowerment and liberation. She advocates for embracing differences as sources of creative potential, enabling marginalized individuals to redefine themselves and construct a future that acknowledges and celebrates their diversity.
Finally, Stam and Shohat concurrently explore how dominant cultural narratives and representations perpetuate harmful stereotypes and oppressive structures, while advocating for empowerment and more nuanced portrayals. They also critique individualistic analyses of stereotypes, advocating for a holistic approach that recognizes their contradictory nature and diverse discourses. They support showing different voices in representations, helping marginalized groups speak up authentically and fighting against discourses that silence them. The authors caution against simplistic analyses and advocate for a discursive approach that considers multiple voices and perspectives within representations, stating, "Less important than a film's 'accuracy' is that it relays the voices and the perspectives - we emphasize the plural - of the community or communities in question." (4)
Despite examining similar issues, the variations among these readings lie in their emphasis on agency and resistance in addressing oppressive systems, ultimately diverging in their approaches to overcoming or confronting harmful stereotypes.
Fanon emphasizes the agency and resistance of the colonized in confronting oppressive systems and harmful stereotypes, and believes in resisting oppressive systems through asserting agency and refusing to internalize harmful ideology. Fanon argues that despite the pressures to assimilate into white society, the young Antillean demonstrates agency by refusing to fully internalize oppressive structures. He describes how the Antillean navigates between familial and societal expectations, ultimately rejecting the notion that Blackness equates to savagery and inferiority. Fanon's assertion that "the Negro recognizes the unreality of many of the beliefs that he has adopted with reference to the subjective attitude of the white man." (5) highlights the colonized individual's capacity to resist and challenge harmful ideologies. This resistance, as depicted by Fanon, is integral to combating and overcoming stereotypes.
hooks emphasizes the agency and resistance of black female spectators in confronting oppressive systems and harmful stereotypes through cinema. She introduces the concept of the "oppositional gaze," developed by black women in response to the lack of positive representation and the perpetuation of degrading stereotypes in mainstream films. According to hooks, this resistance involves actively disrupting dominant structures, as stated: "Even in the worse circumstances of domination, the ability to manipulate one's gaze in the face of structures of domination that would contain it, opens up the possibility of agency." (6) She explains how black female spectators found pleasure in resisting the uncritical consumption of these images, primarily focusing on confronting issues of race and racism through critical examination.
Lorde believes that recognizing and embracing differences are integral components in confronting oppressive systems. Lorde advocates for viewing these differences not as sources of separation and suspicion, but as catalysts for transformative change. Lorde thinks that "difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic." (7) Lorde challenges the conventional notion that oppressed groups bear the responsibility of educating their oppressors, denouncing it as a diversion of energies. Instead, she calls for marginalized communities to concentrate their efforts on "redefining ourselves and devising realistic scenarios for altering the present and constructing the future." (8) This approach, according to Lorde, empowers marginalized groups to reclaim agency over their own narratives and resist harmful stereotypes autonomously, rather than relying on the goodwill of their oppressors.
Stam and Shohat argue that "spectators themselves come equipped with a 'sense of the real' rooted in their own experience, on the basis of which they can accept, question, or even subvert a film's representations." (9) They show how marginalized groups have actively protested and challenged stereotypical portrayals of their communities in films, demonstrating their ability to exert pressure on the media and influence subsequent productions. The reading also shows how spectators from oppressed groups can "look beyond caricatural representations to see the oppressed performing self" and even "enjoy what they know to be misrepresentations" by understanding the circumstances that led to such portrayals.
The scene from “This Extraordinary Being” (00:23:50 - 00:27:00) depicts Will Reeves, urged by his wife June Abar, to embrace the hooded figure he created saving a white couple, using the same mask his corrupt police colleagues used to torment him. This marks the beginning of his journey as the vigilante Hooded Justice. This scene resonates with ideas explored in the four readings, illustrated by Will's quest for justice in a society where every aspect of his identity works against him, with Angela's presence in the scene, transitioning with Will, underscores that this history is also hers.
In the scene, we witness Will Reeves' transformation into one of the first black vigilante heroes in the world of "Watchmen." June convincing Will to conceal his racial identity mirrors the themes discussed by Fanon in "The Negro and Psychopathology." Fanon explores how Black individuals internalize negative stereotypes and struggle with their racial identity in the face of societal pressures. Will's efforts to conceal his race to gain acceptance as a hero resonate with Fanon's depiction of the psychological impact of racism on Black individuals. Will's struggle reflects the deep-seated societal norms and prejudices that force him to navigate a world where his identity is viewed as a barrier to acceptance and legitimacy. Through Will's journey, the episode highlights Fanon's insights into the internalized oppression experienced by Black individuals and the lengths to which they must go to navigate and resist oppressive systems.
While Will is transforming into the Hooded Justice, June holds a mirror to Will's face, revealing the white paint of his vigilante mask. However, instead of seeing Will's reflection, we are confronted with Angela's gaze, adorned with the same paint. This visual shift symbolizes Angela's deep connection to her grandfather's struggles and the enduring legacy of oppression that transcends generations. The pain and racism Will endured, culminating in his transformation into the Hooded Justice, is shown not only to be an event of memories that Angela is experiencing through the drug Nostalgia, but as an inherited past for Angela, shaping her present-day fight for justice. In this way, Angela's journey becomes intertwined with her grandfather's, as both confront systemic racism and corruption within society. This echoes bell hooks' notion of women challenging harmful stereotypes, as Angela embodies the resistance against oppressive forces that seek to marginalize and diminish Black women's identities. Angela's ability to experience her grandfather’s legacy as the Hooded Justice allows her to understand her family’s history fighting against systemic racism and injustice, therefore giving her the power to then fight the same battle in present time, mirroring hooks' emphasis on empowerment and self-representation. Angela refuses to conform to societal expectations and instead takes control of her narrative, reclaiming her agency in the fight for justice. This aligns with hooks' advocacy for Black women to actively resist oppressive narratives and assert their own identities. Angela's journey, therefore, serves as a continuation of her grandfather's legacy, embodying the resilience and determination that hooks celebrates in Black women's resistance narratives.
Although the scene is focused on Will Reeves, his wife June emerges as a shining figure, who becomes one of the few to demonstrate a deep understanding of the significance of his actions, particularly his decision to adopt the persona of the Hooded Justice. Rather than conforming to the stereotype of a passive housewife, June actively engages in pivotal moments and decisions alongside Will. Her active involvement, particularly in this scene, forces Will to confront his own motivations and provides a clear voice of reason in his life, serving as his main supporter in his fight against racial injustice and corruption. This portrayal aligns with Audre Lorde's concept of Black women in the media, as it challenges traditional stereotypes by depicting June as a strong, independent woman who plays a central role in shaping her husband's journey and confronting systemic oppression. Lorde argued that mainstream narratives often fail to acknowledge the diverse experiences and contributions of Black women, relegating them to narrow and limiting roles. June defies these constraints by actively participating in important decisions and conversations, challenging Will's perspectives, and providing crucial support in his fight against racial injustice and corruption. Her character serves as a powerful example of the strength, resilience, and agency inherent in Black women, aligning with Lorde's call for more nuanced and empowering representations in media.
This scene serves as an overall commentary on the prevalent stereotypes that Black individuals encounter in mainstream media, echoing the sentiments expressed by Stam and Shohat regarding representation struggles. Will's evolution into Hooded Justice serves as a departure from traditional hero archetypes, presenting viewers with a new portrayal of heroism and justice. The scene touches into the intricacies of identity, shedding light on the formidable challenges faced by Will as he grapples with his concealing his racial identity within a predominantly white society in order to help them. This exploration underscores the complexities of serving a community that often marginalizes and rejects him, providing viewers with a strong portrayal of the systemic barriers and societal biases that Black individuals confront daily. In this context, the scene aligns with Stam and Shohat's advocacy for a media landscape that embraces diversity and inclusivity, emphasizing the need for narratives that accurately reflect the multifaceted experiences of marginalized communities.
The scene from “A God Walks into Abar” (00:17:30 - 00:20:50) depicts Angela assisting Jon in selecting a new identity from fallen soldiers, a moment that shows the themes explored in the four readings. Angela's decisive and proactive demeanor in guiding Jon's identity choice illustrates her strength as a character, echoing elements discussed in the readings. However, her apprehension in selecting a black body for Jon underscores the harsh reality of racial identity, highlighting the complexities and challenges faced by black individuals in society.
The internalization of negative stereotypes associated with being a black individual, a concept Fanon explores, was evident when Angela hesitated to present the body of Calvin Jelani, a black man, as a potential option for Jon to embody. Angela's hesitation to present Calvin Jelani's body as an option for Jon to embody reflects the concept explored by Fanon regarding the internalization of negative stereotypes associated with being black. This hesitation suggests Angela's awareness of the challenges and discrimination faced by black individuals in society, fearing that Jon, as a previously white man, might not fully grasp the complexities of racial identity. Moreover, Angela's concern for Jon's safety and the potential backlash he could face as a black man underscores the enduring racial tensions and injustices prevalent in their world. Angela's hesitation highlights her attempt to navigate the balance between protecting Jon and confronting the realities of racial identity, echoing Fanon's exploration of the psychological impact of racism on individuals.
Angela's role in formulating a strategy for Jon's integration into society using a deceased identity, coupled with her silent desire for him to adopt a black identity despite hiding it due to an awareness of the hardships faced by black individuals, illuminates her intelligence and profound awareness of societal dynamics. In this context, Angela's actions resonate with the insights offered by bell hooks and Audre Lorde, who delve into the intricate relationships between power, identity, and resistance. Angela's approach to navigating Jon's potential racial identity aligns with hooks' emphasis on the importance of self-awareness and critical consciousness in challenging oppressive systems. By recognizing the complexities of race and gender in societal structures, Angela demonstrates an awareness of the intersecting power dynamics that shape individual experiences. Angela's portrayal serves as a testament to the resilience and resourcefulness of black women, echoing hooks' vision of empowerment through critical engagement and resistance. Angela's contemplation of Jon's potential transformation into a black man also resonates with Audre Lorde's exploration of intersectional identities and the redefinition of difference. Lorde emphasizes the importance of recognizing and embracing differences among marginalized groups, advocating for collective action to resist oppressive systems based on race, gender, class, and sexuality. Angela's hesitation to present a black identity to Jon reflects Lorde's call to acknowledge the complexities of identity and the challenges faced by marginalized individuals. It underscores Lorde's assertion that difference should be embraced as a source of strength rather than a cause for separation. Through Angela's internal conflict, viewers are reminded of Lorde's vision of empowerment through self-awareness and collective struggle, highlighting the transformative potential of embracing diversity and difference in the fight against oppression.
Stam and Shohat's theory on media stereotypes sheds light on the tendency to reduce marginalized groups, particularly black individuals, to simplistic caricatures, perpetuating fixed and oversimplified images that fail to capture the richness of their experiences. In contrast, Watchmen stands out for its commitment to portraying the complexities of being black authentically. The scene featuring Angela's hesitation in selecting a black body for Jon serves as a prime example of the show's departure from these stereotypes. Rather than conforming to the trope of black characters as expendable or peripheral, Angela's contemplation acknowledges the weight of racial identity and the intricate historical context surrounding it. This refusal to succumb to stereotypes not only adds depth to the narrative but also underscores the show's commitment to challenging mainstream media's simplistic portrayals of race. Through its depiction of characters like Angela, Watchmen encourages viewers to engage critically with the multifaceted nature of identity, aligning with Stam and Shohat's call for more authentic representations of marginalized experiences in media narratives.
Watchmen via the readings by Fanon, hooks, Lorde, and Stam and Shohat show how each of their themes and perspectives intersect and diverge in meaningful ways. The series navigates the complexities of race, gender, identity, and power dynamics, offering fresh portrayals that challenge stereotypes and invite viewers to critically engage with issues of representation and oppression. Through the scenes of Will Reeves becoming Hooded Justice and Angela assisting Jon in selecting a new identity, the show confronts the psychological and social repercussions of racism, sexism, and stereotyping of black individuals. These scenes resonate with Fanon's exploration of the internalization of negative stereotypes and the struggle for genuine self-realization, hooks' advocacy for critical viewing practices that resist oppressive narratives, Lorde's call for recognizing and embracing differences to confront oppressive systems, and Stam and Shohat's critique of oversimplified representations in media. The series acknowledges the complexities and challenges faced by black individuals but also empowers its characters to resist and redefine their identities in the face of systemic oppression.
Frantz Fanon, "The Negro and Psychopathology," in Black Skin, White Masks, trans. Charles Lam Markmann (Grove Press, 1952), 113.
hooks, bell. "Oppositional Gaze: Black Female Spectators." In Black Looks: Race and Representation, 115-131. Boston, MA: South End Press, 1992. 311.
Lorde, Audre. "The Master's Tools Will Never Dismantle the Master's House." In Sister Outsider: Essays and Speeches by Audre Lorde, 110-113. Berkeley: Crossing Press, 2007, 110.
Shohat, Ella, and Robert Stam. "Stereotype, Realism, and the Struggle Over Representation." In Unthinking Eurocentrism: Multiculturalism and the Media, edited by Ella Shohat and Robert Stam, 277-309. London: Routledge, 1994, 214.
Frantz Fanon, "The Negro and Psychopathology," in Black Skin, White Masks, trans. Charles Lam Markmann (Grove Press, 1952), 115.
hooks, bell. "Oppositional Gaze: Black Female Spectators." In Black Looks: Race and Representation, 115-131. Boston, MA: South End Press, 1992. 308.
Lorde, Audre. "The Master's Tools Will Never Dismantle the Master's House." In Sister Outsider: Essays and Speeches by Audre Lorde, 110-113. Berkeley: Crossing Press, 2007, 111.
Lorde, Audre. "The Master's Tools Will Never Dismantle the Master's House." In Sister Outsider: Essays and Speeches by Audre Lorde, 110-113. Berkeley: Crossing Press, 2007, 115.
Shohat, Ella, and Robert Stam. "Stereotype, Realism, and the Struggle Over Representation." In Unthinking Eurocentrism: Multiculturalism and the Media, edited by Ella Shohat and Robert Stam, 277-309. London: Routledge, 1994, 182.
