Victoria's Blog- ART 150

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Entry 2 GET OUT (2017), produce, and directed by Jordan Peele is a horror film that aims to address the complexities of race relations in the United States. The plot of the film covers the African-American lead actor, Chris, Who set out to visit his white girlfriends family estate For the holidays, only to unexpectedly unveil a very dark secrets regarding their intentions for African-Americans. The film gives a sense of ear with tension seen throughout and unsettling twists that will blow your mind, as the aim is to assess the societal views on race and expose the behind-the-scenes of white supremacy, racism, and exploitation.

I noticed some direct connections within this film, relating to our course text, which takes us through the historical and racial exploration Of ethnic groups in the United States and the painful integration into mainstream society. Takaki (2023) Highlights how the marginalization and oppression of people of color stemmed from systemic racism, which is an issue that the film, get out, presents to its viewers, specifically through the lens of “liberal racism”. The film depicts a Society where African-Americans are supposedly excepted by all, yet their value is still very reduced/overlooked to how they can service white society. the character of Chris is a great example of this, he was exploited for his physical attributes in a metaphorically disturbing manner characterized as racialized labor.

Scenarios like the intersection of race and privilege, along with ethnic and racial identities can be found in this film, in terms of cultural analysis. The notion of color blindness was also addressed in this film, and is also a concept that was discussed in our courses textbook, where non-Melanated individuals claim to not see race, yet subtle perpetuation of racial hierarchies are still present. The main character, Chris , expresses discomfort, while in his girlfriend’s families home, and this reveals an insidious yet subtle example of how race and ethnicity can be Weaponized, even in presumably “ accepting” liberal circles.

The connection between gender, race, and class in the movie, get out, promise us to reflect deeper on the way pop culture, alters, and circulates racial identities. The horrific display of black bodies as a commodity in the film, takes us back into the historical exploitation of Black people in our country, as discussed by Takaki throughout the course textbook. Takaki (2023) Stresses the importance for a more widespread analysis of the intersectionality of racial diversity and culture. This film inspires such powerful conversation about active issues in our country, surrounding privilege, power and race, which widely resonates with the themes of systemic oppression, and the struggle to obtain proper racial justice.

citations:

-Blocked Page. (2024). Instagram.com. https://www.instagram.com/reel/DDu5ER2S7Ft/?igsh=YzAzamEwM2FmNjg4

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Get Out. (2017, February 24). IMDb. https://www.imdb.com/title/tt5052448/

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Entry 1: The critically acclaimed Netflix series, dear white people is a dramedy with a dash of satirical comedy which follows black scholars at the predominantly white university of Winchester. The Netflix series takes us through issues of identity, white privilege, race, and systemic inequality, delivered with a humorous yet somewhat distressing tone as a means to challenge societal norms. The things found within this production share strong similarities with the concepts found in our course textbook, a different mirror: a history of multicultural America, more specifically regarding the expiration of racial dynamics and assimilating culturally. The execution of Dear white people Addressed intersections of gender, sexuality, and socioeconomic status while still examining ethnic and racial identities. The character, Sam White, who plays the role of a biracial activist along with Lionel Higgins, a gay black journalist, are two characters that embody these complexities. Sam’s leadership role as the head of the black student union and Lionel’s self-discovery journey showcases how the intersection of identities can aid in shaping and individuals experience. Takaki’s (2023) point on the defining feature of America’s diversity mirrors this representation shown Dear White people.   This riveting series promotes discussions on relevant issues like cultural appropriation, micro, aggressions, and systemic barriers placed on marginalized communities. I’d like to think that Takaki’s assessment on the perspective of marginalized non-white individuals is similar to the radio show the character Sam, hosts critique of white privilege on campus.

The themes found within this series really resonated with our class discussions on identity and representation within visual media. Our course readings explored the instances of power structures within our society, and I can see that reflected within the shows depiction of institutional racism, for example, the scene where the university “handled” a blackface party that was held on campus, to which upset many students. This is similar to Takaki’s point on the importance of confronting historical injustices to better understand contemporary issues, in the face of systemic marginalization Takaki(2023). The series also contests the perpetuated stereotypes commonly found in our media, double backing on Takaki’s Stands on rewriting traditional narratives.

Some major things found within this series involves privilege, race and power dynamics through creative storytelling. The reminder of the real world impact systemic racism has on the community, was exemplified in the scene with Reggie Green encounter with campus police as that moment highlighted an argument involving the need for historical awareness in the face of present day inequalities Takaki (2023). The critically, humorous nature of dear white people underscores how mainstream media has the ability to contest dominant narratives and promotes more inclusive, cultural awareness, which makes it a valuable yet entertaining medium for examining race and identity in America today.

click the link below for more insight into this powerfully entertaining TV series!

ARTICLE:https://www.theguardian.com/tv-and-radio/tvandradioblog/2017/apr/28/dear-white-people-film-review-justin-simien

CITATIONS:

-IMAGES: We. (2019, September 10). We need more shows like “Dear White People.” The Famuan. https://www.thefamuanonline.com/2019/09/10/we-need-more-shows-like-dear-white-people/

-ARTICLE:

Lanre Bakare. (2017, April 28). Dear White People review – race relations go back to school in still-searing satire. The Guardian; The Guardian. https://www.theguardian.com/tv-and-radio/tvandradioblog/2017/apr/28/dear-white-people-film-review-justin-simien

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Entry 3:

THE Amanda Seales is a versatile public figure, commonly known in the contemporary American culture. She is known for her diverse acting roles, comedic nature, eloquent, writing skills, and public activism. Amanda Seales regularly utilizes her platform to address important social issues, specifically those affecting marginalized communities. She has become a noticeable voice within conversations surrounding social justice, the black experience and systemic racism, meant to empower viewers through both humor and education. Amanda Seales sets to challenge the status quo and boldly advocates for the rights and visibility of marginalized people, especially within the African-American community, through her social media presence, speaking engagements, and appearances on shows like HBO’s insecure.

Amanda Seales work and activism relates to a lot of the course concepts found in our textbook, a different mirror: a history of multicultural America by Ronald Takaki, addressing themes related to ethnicity, identity, and race. Takaki (2023) highlights, the hardships, marginalized people endure, along with their efforts to resist oppressing their identities. Seales can be found, actively engaging in these types of conversations, with the promotion of black pride and the call to attention towards the experience of the African-American community. She strives to dissect the ignorant stereotypes and expose the intricacies of the black identity beyond the narratives pushed by mainstream media, similar to Takaki’s (2023) Journey into the multifaceted lives of ethnic and racial groups in the United States.

The attention to the connection between gender, race, and class can also be seen in Amanda‘s activist work. She offers insight and acknowledges how these different identities can mesh in the realm of discrimination and exclusion for her specifically. This specific intersectionality is a key theory within the courses textbook, as it discuss, the unique struggles that can arise when marginalized identities are combined. These struggles, most times not fully understood, can have an overwhelming effect on the individual. Seales also makes room to address those intersections when advocating for the marginalized, shedding lights on issues like misogyny, colorism, and the overall underrepresentation of black women in the media.

Throughout the years on her platform, Seales prompts riveting discussions about cultural diversity, race, and privilege, similar to Takaki’s journey through identity and race in digital media. Amanda seals humorous and candid reflection of the themes regarding resistance and systemic oppression, sparks such diverse conversation and truly inspires change among the masses.

Victoria Davis

Citations:

-amandaseales on Instagram: “[PLEASE SHARE] LINKS IN BIO.” (2020). Instagram. https://www.instagram.com/reel/DB1WmAkvkNL/?igsh=dDMwMnp1Nm02NTg0

-Amanda Seales on Comedy, Hip-Hop, and Her MTV VJ Days. (2024, February 24). Houstonia Magazine. https://www.houstoniamag.com/arts-and-culture/2022/09/amanda-seales-black-outside-again-interview

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