Contemporary representations of black British people in media have changed from previous eras in three key ways:
1) Earlier films from the 1950s-60s portrayed black immigrants as a "social problem" and threat to British society, seen through a white directorial lens, whereas now black British people are no longer solely represented as such.
2) Representations in the 1970s, like in Horace Ove's "Pressure", shifted to a black perspective showing issues like racism and discrimination, rather than a migrant perspective.
3) More recent films and TV shows like "Adulthood" and "Day 1" focus on disaffected youth across London influenced by black culture, moving
This is a presentation i've done based on postmodern theory and the media. It includes elements which are postmodern and examples of different genres. I've also analysed some film trailers and a timeline.
How Does This Work? An Affective, Diffractive Storytelling AnalysisJakob Pedersen
All credits to Daniela Gachago and Siddique Motala, Cape Peninsula University of Technology, South Africa. This presentation was given by Daniela Gachago and Siddique Motala on 18 June 2015 as a seminar for the NRF Posthumanism Research Project
This is a presentation i've done based on postmodern theory and the media. It includes elements which are postmodern and examples of different genres. I've also analysed some film trailers and a timeline.
How Does This Work? An Affective, Diffractive Storytelling AnalysisJakob Pedersen
All credits to Daniela Gachago and Siddique Motala, Cape Peninsula University of Technology, South Africa. This presentation was given by Daniela Gachago and Siddique Motala on 18 June 2015 as a seminar for the NRF Posthumanism Research Project
This presentation slide was used for Information and Media Course for the 24th Ship for World Youth Program (http://www.shipforworldyouth.org/), taken place at Yoyogi, Olympic Center, Japan | Jan. 26, 2012
for my advanced media coursework portfolio. In this I evaluate how effectively my three media products work together- one main video and two printed media texts
This presentation slide was used for Information and Media Course for the 24th Ship for World Youth Program (http://www.shipforworldyouth.org/), taken place at Yoyogi, Olympic Center, Japan | Jan. 26, 2012
for my advanced media coursework portfolio. In this I evaluate how effectively my three media products work together- one main video and two printed media texts
Youth marketing - A guide to understanding youth development phases by Dan Pa...guest10a9e56
A short presentation that looks at some of the key development stages kids, tweens and teens go through and the implications for marketers looking to have conversations with kids. See danpankraz.wordpress.com for more insights into youth marketing.
European journal of American studies 14-1 2019Specia.docxpauline234567
European journal of American studies
14-1 | 2019
Special Issue: Race Matters: 1968 as Living History in
the Black Freedom Struggle
The Black Arts Movement Reprise: Television and
Black Art in the 21st Century
Jeffrey O.G. Ogbar
Electronic version
URL: http://journals.openedition.org/ejas/14366
DOI: 10.4000/ejas.14366
ISSN: 1991-9336
Publisher
European Association for American Studies
Electronic reference
Jeffrey O.G. Ogbar, « The Black Arts Movement Reprise: Television and Black Art in the 21st Century »,
European journal of American studies [Online], 14-1 | 2019, Online since 05 April 2019, connection on 12
July 2019. URL : http://journals.openedition.org/ejas/14366 ; DOI : 10.4000/ejas.14366
This text was automatically generated on 12 July 2019.
Creative Commons License
The Black Arts Movement Reprise:
Television and Black Art in the 21st
Century
Jeffrey O.G. Ogbar
“How much longer are they gonna treat us like animals? The American correctional
system is built on the backs of our brothers, our fathers and our sons. How much
longer? It's a system that must be dismantled piece by piece if we are to live up to
those words that we recite with our hands on our hearts. Justice for all. Not justice
for some, but justice for all. How much longer?”—Cookie Lyons, “Empire” (2015)
“[The] artist’s role is to raise the consciousness of the people….Otherwise I don’t
know why you do it.”—Amiri Baraka1
1 In 1969, Larry Neal, one of the most visible black writers of his generation, emerged as a
chief exponent of a new artistic movement that was unfolding alongside the Black Power
Movement. For those curious about it, he explained that art had a critical role in the
Black Freedom Movement2 as a force to complement grassroots activism and political
struggle. Black artists were intimately connected to, and profoundly aware of, the black
freedom struggle; and their work reflected this familiarity. “The Black Arts Movement,”
Neal noted,
is radically opposed to any concept of the artist that alienates him from his
community. The movement…speaks directly to the needs and aspirations of black
America. In order to perform the task, the Black Arts Movement proposes a radical
reordering of the Western cultural aesthetic. It proposes a separate symbolism,
mythology, critique, and iconography.3
2 Throughout the United States a new black mood coalesced around aesthetes who
formulated new and audacious articulations of identity and politics that resonated with
wider black America. The Black Arts Movement (BAM) would have an indelible impact on
the cultural landscape of the country. It transformed the arts and literature in
innumerable ways from theatre, to murals, fashion, and more.
3 A half-century after Neal’s decree, there has been an unprecedented explosion of black
arts in the United States, exceeding the depth, scope, reach and influence of the BAM,
The Black Arts Movement Repr.
This is the theory revision I created for my A2 Media group a couple of years ago. There is some general narrative theory, Media theory Laura Mulvey etc and Racial Representation theory, Stuart Hall, Paul Gilroy, bell hooks etc. This was based on Media and Collective Identity focusing on the representation of black culture in British Film and American Music Videos.
With regards to this article, I agree and disagree on certain leve.docxalanfhall8953
With regards to this article, I agree and disagree on certain levels pertaining to racism in video games. I have been playing video games since the Nintendo days and I have noticed many stereotypes in video games that Evan has pointed out. Although Evan feels that all black characters are subject to stereotypes, there are bunches of game characters that I believe are not under this category and are in fact very ambitious characters. For example, Lee Everett from the Walking Dead: Season 1 game, Captain Anderson from the Mass Effect Trilogy, Franklin from Grand Theft Auto V and Sgt. Johnson from the Halo series. The problem I have with Evan's critique is the fact that he is judging black characters based on how they act and look, something that society does to members of the visible minority in the real world. Majority of the characters that are in question may seem stereotypical at first but if you delve deeper into their character you start to realize that there is depth behind that person rather than just big muscles and a loud mouth. In my opinion, whenever I play a video game I can care less what the race of my character is and I look more towards their development as a character and the story that it is telling. Many "gamers" share this same opinion from research I have done and even in the comment section of this article. I get the notion that he is looking for a character that is "white" but the problem is whenever a black character is given the same characteristics as a white character, they are not well received and are made fun of for being "white washed". There seems to be a double standard with how black characters are portrayed and is also something that will unfortunately never be able to appease to everyone due to the fact that everyone shares a different opinion on how certain types of characters should be portrayed.
3/25/2014
1/11
The Social Construction of "Race"
As our discussions have revealed over the past few weeks, negative or stereotypical representation in media
has real consequences. Such representations not only reflect but also reinforce the marginality of minority
groups. Thus, it follows that the political empowerment of subordinate groups in society--such as women,
youth, people with disabilities, gays and lesbians, the poor--depends in part on changing the way these
groups are represented.
How can we think about the issues of representation and empowerment in relation to racial minorities? First,
we need to gain a better understanding of the social construction of racial and ethnic identity.
Ethnicity
'Ethnicity' and 'race' are linked but distinct categories. Ethnicity is a broad social category that addresses
one’s perceived membership in a larger group based on an attachment to an actual or possible homeland, its
cultural heritage, belief system, political history, language, myths, customs, manners, food, literature, sport, art
or architectural style. Ethnic affiliations are acknowledged and pa.
Essay On Cultural Differences. Cultural appreciation essay. Importance of Un...Diana Carroll
Cultural Diversity Essay | Essay on Cultural Diversity for Students and .... Essay on cultural differences roles and core values - Essay Example for .... Cultural difference | Essay - Studienett.no. The Cultural Differences Argument Essay Example | Topics and Well .... Relationships essay - cultural differences - Document in A Level and IB .... Cultural analysis essay definition - udgereport270.web.fc2.com. How to write an essay on my cultural identity. Sample essay on a world view of cultural diversity. Cultural Differences Essay | Essay on Cultural Differences for Students .... Cultural Differences Essay Example | Topics and Well Written Essays ....
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
Cambridge International AS A Level Biology Coursebook - EBook (MaryFosbery J...
How does contemporary representation compare to previous time periods
1. How does contemporary representation compare to
previous time periods?
Having researched collective identity with regard to the representation of black
British people in the media I can say that their collective identity has gone through
a syncretic process rather than a process of acculturation.
“While the ‘reflexive individual is more than the sum of his/her gender, race,
class, sexuality and ethnicity, he or she does not enjoy complete cultural
autonomy, with the media serving as a major extrinsic force.”
(A. Ruddock, 2007)1
Although it would be nice to think that we have complete control over the shaping
of our identity, this can not be the case when we live in such a media saturated
world “…our knowledge of the world is constructed by media representations”2.
Therefore it can be said to some extent that in shaping our own identity and in
feeling part of a collective identity this is influenced in some part by the media but
not exclusively. Hall demonstrates, representation not only affects the
understanding of ethnic minority groups within society as a whole, but also how
ethnic minority groups come to perceive their own identities.3
“…collective identity [is] an individual's cognitive, moral, and emotional
connection with a community, category, practice, or institution. It is a perception
of a shared status or relation, which may be imagined rather than experienced
directly, and it is distinct from personal identities, although it may form part of a
personal identity. A collective identity may have been first constructed by
outsiders, who may still enforce it, but it depends on some acceptance by those
to whom it is applied. Collective identities are expressed in cultural materials -
names, narratives, symbols, verbal styles, rituals, clothing, and so on - but not
all cultural materials express collective identities. Collective identity does not
imply the rational calculus for evaluating choices that "interest" does. And unlike
ideology collective identity carries with it positive feelings for other members of
the group“
(Polletta, Francesca; Jasper, James M, 2001)4
When discussing the collective identity of black British people we are in fact
referring to the black diaspora, and even though this is spread over many
continents for the most part this mainly includes the USA and Africa. Our collective
identity is formed when we feel an affiliation with a particular social group and
anything regarding that social group is likely to have an effect on us.
The term black British in this essay refers to a British resident with specifically Sub-
Saharan African ancestral origins, who self-identifies, or is identified, as "Black",
African or Afro-Caribbean. The representation of black British people in the media
is an interesting one considering the history of the British Empire and it’s many ex-
colonies.
1
2. In the beginning there was the Empire and, then (post-1945), there was the
Empire no more. In a nostalgic bid to keep the idea of Empire alive, the
British establishment first created the Commonwealth and, in 1948, voted
through Parliament the Commonwealth Act whereby all citizens of the ex-
Empire could come to the mother country: the United Kingdom.
(Susan Hayward, Jump Cut, no. 41, May 1997, pp. 49-58)
England was seen as ‘The Mother’ country for many West Indians who migrated
here (most famously on Empire Windrush) in the hope of good jobs, a new life and
a warm welcome. The early experiences of immigrants from the West Indians can
be said to be canonized in early films such as Sapphire (Basil Dearden, 1959) and
Flame in the Streets (Roy Ward Baker, 1962) films that have become to be known
as social problem films5. Both films reflected social zeitgeist and were released at a
time of social unrest, the film Sapphire even ‘adopted Notting Hill locations to
underwrite its reference to the inter-racial riots’6 that occurred prior to it release.
“…it was the 1958 "riots" which brought race onto the TV agenda in a
strategically different way. Race was now presented as a problem in the UK
rather than as an end-of-Empire debate as it had been previously”
(Susan Hayward, Jump Cut, no. 41, May 1997, pp. 49-58)
The problem with these early films is that they were both directed by white directors
therefore the representations of black people presented to us were frame a white
frame of reference. During the time of release for both films blacks were seen as
‘those "imperial Others" who once lived in remote marginal colonies, [and] now
demand[ed] inclusion and belonging on British soil, "invading" public national and
private family spaces’7, and a problem for British society (also reflected in the
changes to immigration law that also occurred at the time). These films did nothing
to contract these ideologies and in fact served as hegemonic devices to keep these
thoughts in the minds of the British people.
(use some textual examples)
In the 1970s representation changed somewhat with influences from the USA,
there was an air of militancy and Horace Ove’s ‘Pressure’ (1976, the first feature
film made by a black director) moved away from migrant representations from a
white perspective to representations of first generation British born blacks from a
Black perspective. In the film, ‘overtly political issues such as police harassment,
blatant racism, poor housing and discrimination in the workforce are juxtaposed
with the more subtle aspects of popular culture such as food, language, music and
fashion.8
(use textual examples)
Comparing these representations to those of more contemporary texts such as
Adulthood (Noel Clarke, 2008), 1 Day (Penny Woolcock, 2009) Freestyle (Kolton
Lee, 2010), I would say that there are varying degrees of difference with regard
to representation. The biggest difference that exists is that blacks in Britain are
no longer represented as a ‘social problem’, and unlike in ‘Pressure’ there seems
2
3. to be a distinct lack of representation of the older generation of black British
people the ‘original immigrants’. There is more of a focus on the young people,
(this is similar to ‘Pressure’), and there disaffection with society.
Adulthood – talk about the move away from separate black youth representation, to
a move where it’s a representation of youth full stop, youth in London who all feel
disaffected (but still somewhat influenced by black culture)
As Gilroy proposes going beyond essentialist modes of identity and
nationalist cultural representations, the new concept of syncretism is the
only one able to examine cultural resistance in the hybridized context of
black Britain. The same subversive force of this hybridizing tendency is once
again emphasized by Hall, according to whom identities are not an essence
but a positioning, and thus diaspora identities are constantly producing and
reproducing themselves anew.
CENTRING MARGINALITY THROUGH BLACK BRITISH NARRATIVES:
SMALL ISLAND AND YOUNG SOUL REBELS, Francesca Giommi
Kidulthood – similar to Adulthood, but throw in the idea of these representations
being potentially dangerous
Various characters within “Kidulthood” are shown to be involved in criminal
activities such as drug dealing and gun making. It can be said that “black
people, particularly Afro-Caribbeans are portrayed in the media as
criminals”9 as “the media are highly selective in the way in which they
construct and represent the world back to us”10 Due to how they are
represented within “Kidulthood”, it suggests that young black males may
have been subjected to receive negative treatment as a result of being
represented with such pessimism and in turn advocates that they will be
treated as criminals if they have been represented in that way.
http://jaleesadenton-mest4.blogspot.com/
“how we are seen determines in part how we are treated; how we treat
others is based on how we see them; such seeing comes from
representation.”
Dyer, Richard. (1993). The Matter of Images: Essays on Representations (1 ed.). New
York: Routledge
Day 1 – Could mention how most of the time black British is represented by black
London and this film is a move away from that. Although still utilising dangerous
representations of gang culture – is this stereotyping or just real-life social
commentary?
Freestyle – and it’s attempts to move away from mainstream negative
representations of young black British. Presenting settled young black people with
minor communication of them being the other. In education, aspiring to do well vs.
the lack of opportunity presented in ‘Pressure’ due to skin colour. Mixed race
character accepted vs. Sapphire. Reminder of how it was from the mother
character, turning negative stereotypes on its head with the use of the single dad
character.
3
4. Conclusion
Real exam need to reference at least TWO types of media combinations:
Film and T.V.
Film and Music
Film, TV and Music
1
Investigating Audiences, Routledge
2
Andrews, Maggie. Burton, Julia. & Stevenson, Elspeth. (2009). AQA A2 Media Studies: Student's Book (Aqa
Media Studies for A2). Surrey: Nelson Thornes Ltd
3
Fatimah Awan, Young People, Identity and the Media, PhD Research Project, 2008
4
COLLECTIVE IDENTITY AND SOCIAL MOVEMENTS.
Annual Review of Sociology, January 01, 2001
5
John Hill, ‘The British ‘Social Problem’ film: ‘Violent Playground’ and ‘Sapphire’, Screen Vol. 26, No1
6
John Hill, ‘The British ‘Social Problem’ film: ‘Violent Playground’ and ‘Sapphire’, Screen Vol. 26, No1
7
CENTRING MARGINALITY THROUGH BLACK BRITISH NARRATIVES:
SMALL ISLAND AND YOUNG SOUL REBELS, Francesca Giommi
8
Joel Karamath, http://www.bfi.org.uk/education/teaching/blackworld/howto.html
9
http://www.helium.com/items/265124-how-are-ethnic-minorites-portrayed-in-the-media
10
Kruger, Stephen. Rayner, Philip. & Wall, Peter. (2004). Media Studies: The Essential Resource.
London: Routledge, London and New York.
4