By Norma Manatu
This paintings makes a speciality of the sexual objectification of African American girls in movie from the Eighties to the early 2000s. Critics of the damaging sexual imagery have lengthy speculated that keep an eye on through African American filmmakers may switch how African American ladies are depicted. This paintings examines 16 motion pictures made through men either white and black to determine how the imagery could fluctuate with the race of the filmmaker. 4 dimensions are given targeted realization: the range of the women's roles and relationships with males, the sexual attitudes of the African American girl characters, their attitudes in the direction of males, and their nonverbal and verbal sexual behaviors.
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Additional info for African American Women and Sexuality in the Cinema
14). As a result, they were “de-sexed,” unlike the tragic mulatto, who was a girl of mixed blood. ” Putting aside for the moment the way in which Birth of a Nation categorized black women, a look at the function of blackface in the film is revealing. For whites in blackface served two major purposes. Diawara (1993) argues that a primary reason a mostly white cast was featured in the film was to protect the purity of white womanhood on the set. This fear, of course, centered around widely held beliefs about the black male’s insatiable appetite for white women’s bodies.
I am not concerned with any one filmmaker’s vision of black female sexuality; my interest, rather, is with what the films as a group reveal about perceptions of black female sex- 28 African American Women and Sexuality in the Cinema uality, and whether black male filmmakers represent black women more positively than do their white male counterparts. In both studies, therefore, no two films share the same filmmaker. The question remains, might black and white male filmmakers’ works, when taken together, reflect certain cultural attitudes about black women?
Such modeling suggests that the role of observational learning is vital to the social transmission process (Bandura, 1977, 1986). Indeed, the suggestion has been made that observational learning may be a driving force in preserving cultural ideas and attitudes about cultural subgroups (Mellen, 1973; Hall, 1995; Yamato, 1998), a process appearing so natural and universal that it is rarely seen as based on role-modeling. Yet, it is here, through this process of role-modeling, that film can eclipse the “formal” sources of instruction, often extending learning well beyond the direct experiences of individuals.
African American Women and Sexuality in the Cinema by Norma Manatu