COM 245 Week 12 & 13 Notes
COM 245 Week 12 & 13 Notes COM 245
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This 5 page Bundle was uploaded by Justin Hynes on Tuesday April 26, 2016. The Bundle belongs to COM 245 at Pace University taught by Marcella Szablewicz in Spring 2016. Since its upload, it has received 50 views. For similar materials see Communication & Pop Culture in Journalism and Mass Communications at Pace University.
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Date Created: 04/26/16
04/14 – Race & Representation: Embodiment J.Lo & Selena • Is it problematic for a Puerto-Rican American from the Bronx (Niuyorican) to portray a Mexican-American from Texas (Tejana) • “Selena and I are both Latinas and both had the common experience of growing up Latina in this country. This was good enough.” J.Lo (183) • “I’m all in favor of Latinos playing Latinos but saying a Puerto Rican couldn’t play Selena, a Texas girl, is taking it a bit far. Selena looked like me. She was dark and she was, well, curvy” J.Lo (184) How are “Latinas” constituted s radicalized bodies? Stated differently, what “marks” a body as Latina in the popular imagination? “Although race was hardly mentioned in this debate over curves and rear ends, for any Caribbean interlocutor, references to this part od the human anatomy are often a way of speaking about Africa in(side) America J.LO owns her body and everything is planned and strategic Jennifer’s display was at least a triple sign: showing ass as a sign of identity and pride, kiss my ass’ as a form of revenge against a hostile cultural gaze, and Im going to kick your ass vis a cis the economic exploitation implicated in racism WHY ARE BIG butts so bad? What does a butt signify? dirty? sex? In this moment, a particular brand of whiteness is disrupted But does this new brand of body necessarily help women with issues of body image the thin waist and curvaceous bottom…is a different kind of unattainable beauty Dreamworlds But Jhally defines a music television dreamworld that: “depicts a straight male fantasy where specific film techniques, narrative cues, and regimes of representation frame women as interchangeable, accessible, and available sex objects” (38) What is the “backwards gaze” that Durham refers to on pg. 38? - the male gaze, voyeuristic This gaze frames the backside as an erogenous zone of racial difference complementing the breast a s signifier of gender difference for black women” How is femininity “classed” in Beyonce’s video? In reference to Destiny’s Child video for Lose My Breath: “The back alley battle that takes place between the so called lady and throw ghetto girl serves as a compelling metaphor to describe the simultaneous respectable and sexually accessible womanhood that black female artists must perform” (41) Check On It: 4 main looks Girl gang member The diva The ghetto girl Dance troupe member (also school girl in angora swearer, diva in gown, and dancer in bodysuit) Saartje Baartman: The Hottentot Venus A political cartoon comparing Baartman to Lord Grenville and the Whigs (know as the “broad bottoms”) In 1810 Baartman had traveled to England (purportedly after signing a contract) to take part in shows Kim K. = ethnic other? such a damn conundrum does she capitalize on it? 04/21 – Why Can’t There Be Two? Blind Casting in a Post Racial World From Smith, Choueiti, Pieper: Across 565 film directors of the top-grossing films from 2007-2012 only 33 (5.8%) are Black. This translates into a ratio of over 16 non Black directors working to every 1 Black director. There are only 2 black females who directed film across the 500 movies in the sample. Some of the sample films are helmed by the same individual. Counting directors only once, 22 unique black directors appear across the 500 film sample. When a non black director helms a picture, only 9.9% of the on screen speaking characters are black. When black director is in this leadership role, 52.6% of all speaking characters on screen are black. This represents a 42.7% increase. What is meant by the term “post-racial”? “blind-casting”? “This innovation insisted as opposed to the traditional network of network executives, casting directors, and talent mama hers generating casting breakdowns the explicitly listed the race and ethnicity of each character for auditioning purposes. the producer not specify the race of any of the roles” Shonda Rhimes • writer/producer • She is the head writer, executive producer of Grey’s Anatomy Aziz Ansari • American actor and Comedian • Creator and Writer (with Alan Yang) of the show Master of None • Askari also stars in the show How does Rhimes see herself as a black woman working in Hollywood? • “we get asked this question a lot like ‘you’re two women in Hollywood. How does that worK? And I remember saying that I’m too busy working to be worried about the fact that somebody else has a problems with my vagina. Really, the idea that being a woman is problem in this town is something I just don’t have time for…..” (635) • How does Warner argue that Shonda Rhimes “neutralizes race” in her show Grey’s (632) • According to Warner, hoe does Rhimes "white wash” or launder the diversity of bodies in her show Richard Roundtree + Diahann Carroll as Burke’s parents Julia was first show to cast a black female lead in a television show Ebony Magazine, November 1968 Julia is not that kind of show that attacks racial issues. It is lighthearted and meant to be almost like a fantasy. • “The networks have not been responding to blacks’ desire to be seen as much as they are responding to what and how much white viewers want to see of black life” (634) Shows that look like reality? • “Considering that the actual population of Seattle is 3.6 percent black and only a quarter of that demographic have professional career, the probability of three African American doctors in powerful positions at the same hospital is highly unlikely” (639) MASTER OF NONE • How does Ansar’s depiction of race differ from that of Rhimes? • How does “blind casting” work in Ansar’s depiction? What do you think? • Rhine’s blind casting works to acknowledge difference in ways that will cause the least amount of discomfort to white audiences while providing an illusion that under liberal individualism, the marketplace will do right by historically marginalized individuals. This is a post-racial network world indeed” (645)
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