Historically how has American media, particularly television presented what is ultimately this “white” worldview, even when wrapped in Black packaging, to the detriment of audiences Black and White? My experience, is not a universal human experience,” Robin DiAngelo writes in White Fragility. “As a white American.I have a white frame of reference and a white worldview, and I move through the world with a white experience. In what ways today do we have the “by” and the “about,” but not the “for?”Īll of these “black” shows or shows with “diverse” casts, with so-called “colorblind” casting that make their way to the Broadcast, Cable, VOD networks has the effect of diminishing, devaluing the African Diasporic culture and history, while elevating the centrality of the Eurocentric POV, which ultimately is the point. Blacks who are working in the medium today haven’t really innovated nor strayed too far from what the industry deems right and proper for “black” folks in both form and content, in front & behind the camera.ĭuring the Black Arts Movement of the late ‘60’s and early ‘70’s the mantra of Black Mediamakers was “by, for, and about” Black folks. The entertainment form began as a “white” one and has hewn to that form ever since. Provides a history, using examples, beginning with the Minstrel Show form and how that basic format/formula continues despite having “black” producers/creatives working in the medium and despite having so-called Black networks. An in depth look at the extent to which it’s just another Minstrel Show, “white” imagery in Blackface. A four (4) part Docuseries, an examination of what passes for Black Television and “black” character-driven TV today.
0 Comments
Leave a Reply. |