Stereotypes of African American Women in Film Essay

Stereotypes of African American Women in Film - assay ExampleIn film, the seductive and worldly imagery of the African American woman has endured. While more empowered redacts have been created over time with race relations slowly repairing and providing for a less judgmental view on the African American woman, the films of the early twentieth century reveal the story of how she was viewed. by dint of the work of Lena Horne and Dorothy Dandridge, the stereotypes can be seen, but explored with a deeper complexity that was brought to the roles because of the presentations that Horne and Dandridge brought to their work. In many ways, the work that was make by Lena Horne and Dorothy Dandridge broke some of the stereotypes that had been most prevalent about African American women. Horne stated of her position in Hollywood that They didnt make me into a maidbut they didnt make me into anything else either. I became a butterfly pinned to a column singing away in Movieland (Bogle, 2001 , p. 127). She came across as good for you(predicate) a problem for the sex-object roles that she was given. Because of her nature, she was not seen as a slutty character, but was engaging as an alluring woman who flirted and teased, rather than performed acts that would diminish her nature. She was elegant and poised, thus creating sophisticated presence. In this, her roles created a sense of broken stereotypes, the women she visualised not the average that was promoted during her time. Hornes portrayal of Georgia Brown in Cabin in the discard never broke through to representing a woman of ill-repute. Bogle describes her work as startling freshness and real wholesome beauty from twain Cabin in the flick (1943) and Stormy stand (1942). Her role in Stormy Weather, made her an object of contemplation, rather than one of possession (Bogle, 2001, p. 127). In Cabin in the Sky, she is positioned as an instrument of Lucifer, but she brings a complexity as she never fully slips into the state of a impair woman. In Stormy Weather, puts Horne in context with the music industry of the early 20th century. She represents an ambitious, but enviable woman who is seeking a career over love. This representation broke with the traditions of both women and African American women, her desires for something beyond an immediate gratification not a familiar stereotype. One of the problems with Cabin in the Sky was that it was set in a familiar type of fantastical setting in which there was an paragon otherness in which African Americans lived. This concept suggested that while their lives were separate, they did not suffer from segregation, but flourished in communities that were and out there somewhere (Bugle, 2001, p. 131). Where Cabin in the Sky created an unrealistic domestic space, Stormy Weather created a somewhat unrealistic professional space in which African Americans experienced their lives. The film was an prototype of wartime escapism, providing an unrealisti c world in which to experience a diversion from the seriousness of the nature of life during the war. some(prenominal) of these films, however, were ground-breaking as they each had fully African American casts, the diversity of the roles within those films providing for a better exploration of African American life. Two roles that Horne greatly desired, ended up being given to Dorothy Dandridge. The role of both Carmen Jones (1954) and Jane Richards in Bright Road (1953) were given to Dandridge over Horne. Where Horne exuded a