There is a new movie out in theaters. An action-packed movie where a young African American and his city block of misfits take on rapid dinosaurs in the driveways of their own homes. Sounds like a normal movie but this movie is not focused on the “color” of the boy but on the actions of the neighborhood.The stereotypes of colored men and women in the film industry are beautifully destroyed in the free verse poem “Dinosaurs in the Hood” as Danez Smith makes a trailer of words for this movie, just waiting to be released. Smith is a colored queer poet who is known for his fiery political poems that took Youtube by storm. (cite)
Smith starts the poem with a communal invitation to make a new movie. He uses juxtapositions to show the mood of the film is when “Jurassic Park meets Friday meets The Pursuit of Happyness,” meaning a suspenseful creature movie with the influence of “hood boys.” The last three lines of the first stanza paint an image of an African American boy playing with a toy dinosaur and gazes out his window to see a T.Rex because “there has to be a T.Rex.” Due to typecast dinosaur movies it has to be a T.Rex, but leaves the question open to if this movie is about an African American boy what stereotypes about him have to be in the movie? Bluntly, Smith states in stanza two “don’t let Tarantino direct this” due to his overuse of racial slurs and violence, then goes on to explain the metaphor of “the boy with the gun.” In another poem by Danez Smith he shares
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Victor Rios begins chapter six by describing the way the Latino boys he studied used masculinity as a rehabilitative tool. He describes how the boys are constantly “questioning” each other’s manhood as a way of proving their own masculinity. “The boys’ social relations with one another and with community members were saturated with expressions and discourses of manhood” (pg.125). Rios continues to describe the affects criminalization and its gendered practices has influenced these young boy’s mentality of what it means to be masculine. In chapter six, the author explains that although the boys had easy access to weapons, they rarely used them because of their clear understanding the consequences associated with such violence.
The main idea of this entry is about the stereotypes that come along with racism. Also, Brent Staples wants his readers to realize how much colored people sacrifice from their normality in order to fit in with society, in hopes of not being attacked or offended. The author proves this in his entry by mentioning ‘innocent’ behaviors, such as singing Beethoven, that he did in public in order to relief those surrounding him from danger. Moreover, the author compared hikers to the country’s bears in order to provide readers with a valid connection between black and colored people. In addition to that, Brent Staples uses flashback as one of his techniques when sharing with us his encounters with white people, this gives readers an idea of how
His “ambitions to be… a great colored man” manifested in aspirations to portray the “American Negro, in classic musical form” (50, 161). These childhood dreams are only subsequently revived by a white man who “had taken ragtime and made it classic” (155). The irony of his failed attempt to portray black society by succumbing to music forms of white culture is lost on him. Thus, despite his observations on pertinent issues concerning his race, he is oblivious to his bigotry and this subjects him to the ironic gaze of
An example from the film that demonstrates this message is in the visual and audio tracks, when the filmmaker gives the background of Black History Month. (11:00). This is significant because the filmmaker shows when and why Black History Month began and why it was important. He goes into detail about Carter G. Woodson, the man behind Negro Week, who fought his whole life for recognition of African-Americans. The filmmaker also talks about how President Nixon expanded Negro Week into Black History Month.
Leaving last week’s class, my mind was darting in all sorts of directions. While the “Eyes on the Prize” excerpt gave me a concrete understanding of the historic events of the desegregation of Little Rock High School, “Little Rock Central High: 50 Years Later” brought up all sorts of observations and questions on race in America that I hadn’t necessarily thought to address before. I think these two films were particularly interesting to view back to back because of their difference in style, content, and execution. I have viewed many of the “Eyes on The Prize” segments in past classes and this segment, “Fighting Back”, continues to stand out to me. Through the use of first person interviews and real footage, the piece gave me, what felt like, a clear look
The Harlem Renaissance was a movement that reflected the culture of African Americans in an artistic way during the 1920’s and the 30’s. Many African Americans who participated in this movement showed a different side of the “Negro Life,” and rejected the stereotypes that were forced on themselves. The Harlem Renaissance was full of artists, musicians, and writers who wrote about their thoughts, especially on discrimination towards blacks, such as Louis Armstrong, Ella Fitzgerald, and Langston Hughes. The Harlem Renaissance was an influential and exciting movement, and influenced others to fight for what they want and believed in. The Harlem Renaissance was the start of the Civil Rights Movement.
As Smith uses his words to create a poetic trailer for this stereotype-free movie, he tells the story of a young African American boy. Rather than being focused on his color, he focuses on his heroic actions when fighting wandering dinosaurs.
The film Girl’s Trip has been applauded for being a celebration of blackness in the primarily white film industry. The majority of the cast and the writers for Girl’s Trip are people of color. The film was much more successful than its “white counterpart” Rough Night in box office revenue and reviews. However, most of the black characters in Girl’s Trip shift through various controlling images throughout the movie. The reason these stereotypes are less obvious than they are in some other films is because each characters portrays multiple stereotypes and different times throughout the film.
In Terrance Hayes’s poem “Mr. T-,” the speaker presents the actor Laurence Tureaud, also known as Mr. T, as a sellout and an unfavorable role model for the African American youth for constantly playing negative, stereotypical roles for a black man in order to achieve success in Hollywood. The speaker also characterizes Mr. T as enormous and simple-minded with a demeanor similar to an animal’s to further his mockery of Mr. T’s career. The speaker begins his commentary on the actor’s career by suggesting that The A-Team, the show Mr. T stars in, is racist by mentioning how he is “Sometimes drugged / & duffled (by white men) in a cockpit,” which seems to draw illusions to white men capturing and transporting slaves to new territories during the time of the slave trade (4-5).
The poem, “juxtaposing the black boy & the bullet”, is comparing a black boy to a bullet. Essentially, the poem is explaining the brutality the world has towards the black boy. It explains the similarities that the black boy and the bullet have . In the end the poem has them meet eventually and the paths that they similarly take throughout their life journey. It is structured as looking at both the bullet and the person and listing how their “lives” are more the same than different although they are on opposite ends.
This film is a great image of how American pop culture was consumed in the early 90s. Summary of the Contents of the Film This film focuses on the relationship and interactions between three African American males Tre Styles, Darrin Baker, and Ricky Baker.
In the movie True Grit (1969), Rooster Cogburn (John Wayne) depicts the negative effects of violence when he fails to notice blood on his corn cakes or when he kills a young boy whose name he can’t remember without any emotion. This shows Roosters lack of concern for violence since he has seen and caused so much bloodshed. Violence is shown as a normal part of life in this film and Rooster seems to be used to this fact. When Mattie Ross (Kim Darby) notices the blood on the corn cakes and Rooster continues to eat them, Ignoring the blood, it is made clear that he has become indifferent to violence and bloodshed. As the two prepare a fire on their first night seeking to avenge the death of Mattie's father, Rooster hands her a corn cakes and she takes one bite and notices that they are covered in blood.
Smith says there are no stereotypes of “chicken jokes” in his movie and no more familiar bullets in the hero. Perhaps the most uncommon motive in this movie is “nobody kills the black boy, and nobody kills the black boy and nobody kills the black boy” (Smith, Dinosaurs in the Hood, 32). The repetition of this strong phrase and the poet’s insufficient punctuation creates an energy of passion that speeds up so the reader feels the intensity of the message being portrayed. Lastly, Smith ended this poem by recalling the only reason he wanted to make this movie was for the beginning scene anyway. A young African American boy not bound by stereotypes and whispered worries of who he will be, endless possibilities sparkle in his eyes.
“In the streets it 's getting hot, And the youths dem a get so cold…” are the famous lyrics of Reggae sensation, Richie Spice, that pivots around writer and director, Ian Strachan’s Gun Boys Rhapsody. It is one of Ringplay and Ceibo productions’ latest and most heart-wrenching dramas. It provides a host of parody, humor and tragedy on a fictional Caribbean society, I-Land. Strachan dedicates the theatrical piece to his former student of C.I Gibson, Marcian Scott, who was brutally brought to his demise in his driveway by a convict out on bail, in 2006. Gun Boys Rhapsody investigates the impact of crime and violence on the youth of the Bahamian society.