MCO220: Cultural Diversity in the Media (Desai)

In this thorough history, the author demonstrates, via the popular literature (primarily pulp magazines and comic books) of the 1920s to about 1960, that the stories therein drew their definitions of heroism and villainy from an overarching, nativist fear of outsiders that had existed before World War I but intensified afterwards. These depictions were transferred to America's "new" enemies, both following U.S. entry into the Second World War and during the early stages of the Cold War. Anti-foreign narratives showed a growing emphasis on ideological, as opposed to racial or ethnic, differences--and early signs of the coming "multiculturalism"--indicating that pure racism was not the sole reason for nativist rhetoric in popular literature. The process of change in America's nativist sentiments, so virulent after the First World War, are revealed by the popular, inexpensive escapism of the time, pulp magazines and comic books.

How is it that in America the image of Jesus Christ has been used both to justify the atrocities of white supremacy and to inspire the righteousness of civil rights crusades? In The Color of Christ, Edward J. Blum and Paul Harvey weave a tapestry of American dreams and visions--from witch hunts to web pages, Harlem to Hollywood, slave cabins to South Park, Mormon revelations to Indian reservations--to show how Americans remade the Son of God visually time and again into a sacred symbol of their greatest aspirations, deepest terrors, and mightiest strivings for racial power and justice. The Color of Christ uncovers how, in a country founded by Puritans who destroyed depictions of Jesus, Americans came to believe in the whiteness of Christ. Some envisioned a white Christ who would sanctify the exploitation of Native Americans and African Americans and bless imperial expansion. Many others gazed at a messiah, not necessarily white, who was willing and able to confront white supremacy. The color of Christ still symbolizes America's most combustible divisions, revealing the power and malleability of race and religion from colonial times to the presidency of Barack Obama.

Diversity in U.S. Mass Media provides comprehensive coverage of the evolution and issues surrounding portrayals of social groups within the mass media of the United States. Focuses on past and current mass media representations of social groups Provides an overview of key theories that have guided research in mass media representations and stereotyping Discusses the impact new media has on representation and how technology is giving a new voice to various social groups Includes a chapter on how mass media industries are addressing diversity, complete with specially-commissioned interviews with media professionals Offers helpful supplementary features such as a glossary, questions for reflection, suggestions for projects related to diversity in mass media, and online resources for both instructors and students Accompanying website provides a glossary, links to related sites, recommendations of films to watch in the classroom, ideas for research projects, and an instructor′s manual with sample syllabi

This innovative book shows how Asian American filmmakers and videomakers frame and are framed by history--how they define and are defined by cinematic projections of Asian American identity. Combining close readings of films and videos, sophisticated cultural analyses, and detailed production histories that reveal the complex forces at play in the making and distributing of these movies, Identities in Motion offers an illuminating interpretative framework for assessing the extraordinary range of Asian American films produced in North America. Peter X Feng considers a wide range of works--from genres such as detective films to romantic comedies to ethnographic films, documentaries, avant-garde videos, newsreels, travelogues, and even home movies. Feng begins by examining movies about three crucial moments that defined the American nation and the roles of Asian Americans within it: the arrival of Chinese and Japanese women in the American West and Hawai'i; the incorporation of the Philippines into the U.S. empire; and the internment of Japanese Americans during World War II. In subsequent chapters Feng discusses cinematic depictions of ideological conflicts among Asian Americans and of the complex forces that compel migration, extending his nuanced analysis of the intersections of sexuality, ethnicity, and nationalist movements. Identities in Motion illuminates the fluidity of Asian American identities, expressing the diversity and complexity of Asian Americans--including Filipinos, Indonesians, Chinese, Japanese, Vietnamese, Laotians, Indians, and Koreans--from the nineteenth to the twenty-first century.

Witchcraft, Sorcery, Rumors, and Gossip combines two classic topics in social anthropology in a new synthesis: the study of witchcraft and sorcery and the study of rumours and gossip. It shows how rumour and gossip are invariably important as catalysts for accusations of witchcraft and sorcery, and demonstrates the role of rumour and gossip in the genesis of social and political violence, as in the case of both peasant rebellions and witch-hunts. Examples supporting the argument are drawn from Africa, Europe, India, Papua New Guinea, Sri Lanka, and Indonesia. They include discussions of witchcraft trials in Essex, England in the seventeenth century, witch-hunts and vampire narratives in colonial and contemporary Africa, millenarian movements in New Guinea, the Indian Mutiny in nineteenth-century Uttar Pradesh, and rumours of construction sacrifice in Indonesia.

This expanded collection of new and fully revised explorations of media content identifies the ways we all have been negatively stereotyped and demonstrates how careful analysis of media portrayals can create more beneficial alternatives. * 33 distinguished authors as well as new voices in the field combine their extensive and varied expertise to explain the social effects of media stereotyping. * Includes historical and contemporary illustrations that range from editorial cartoons to the sinking of the Titanic * Richly illustrated with historical and up-to-date photographic illustrations * Every chapter's content is meticulously supported with numerous sources cited * A glossary defines key words mentioned in the chapters

2013  Honorable Mention, Asian American Studies Association's prize in Literary Studies    Part of the American Literatures Initiative Series   Why do black characters appear so frequently in Asian American literary works and Asian characters appear in African American literary works in the early twentieth century?Interracial Encounters attempts to answer this rather straightforward literary question, arguing that scenes depicting Black-Asian interactions, relationships, and conflicts capture the constitution of African American and Asian American identities as each group struggled to negotiate the racially exclusionary nature of American identity. In this nuanced study, Julia H. Lee argues that the diversity and ambiguity that characterize these textual moments radically undermine the popular notion that the history of Afro-Asian relations can be reduced to a monolithic, media-friendly narrative, whether of cooperation or antagonism. Drawing on works by Charles Chesnutt, Wu Tingfang, Edith and Winnifred Eaton, Nella Larsen, W.E.B. Du Bois, and Younghill Kang, Interracial Encounters foregrounds how these reciprocal representations emerged from the nation's pervasive pairing of the figure of the "Negro" and the "Asiatic" in oppositional, overlapping, or analogous relationships within a wide variety of popular, scientific, legal, and cultural discourses. Historicizing these interracial encounters within a national and global context highlights how multiple racial groups shaped the narrative of race and national identity in the early twentieth century, as well as how early twentieth century American literature emerged from that multiracial political context.

Media & Minorities looks at the media's racial tendencies with an eye to identifying the system supportive messages conveyed and offering challenges to them. The book covers all major media--including television, film, newspapers, radio, magazines, and the Internet--and systematically analyzes their representation of the four largest minority groups in the U.S.: African Americans, Native Americans, Latinos, and Asian Americans. Entertainment media are compared and contrasted with news media, and special attention is devoted to coverage of social movements for racial justice and politicians of color.

News for All the People is a sweeping account of the class and racial conflicts in American news media, from the first colonial newspaper to the internet age. It chronicles key government decisions that created our nation's system of news, major political battles over the role of the press, and the rise of media conglomerates and epoch-defining technologies. The book reveals how racial segregation in the media distorted the news and unearths numerous examples of how publishers and broadcasters actually fomented racial violence through their coverage. And it illuminates how Black, Latino, Asian, and Native American journalists fought to create a vibrant yet little-known alternative and democratic press and then, beginning in the 1970s, forced open the doors of the major media companies. The writing is fast-paced, story-driven and replete with portraits of individual journalists and media executives, both famous and obscure, the heroes and the villains. It weaves back and forth between the corporate battles and government policies that built our segregated media system— as when Commerce Secretary Herbert Hoover gave a radio license to a notorious KKK organization in the nation's capital—and those who rebelled against that system, such as Pittsburgh Courier publisher Robert L. Vann, who led a national campaign to get the black-face comedy Amos 'n' Andy off the air. News for All the People will become the new standard history of American media.

Winner of the Choice Outstanding Academic Title (2016) In the wake of the Charlie Hebdo attacks, this collection--which gathers scholars in the fields of race, ethnicity, and humor--seems especially urgent. Inspired by Denmark's Muhammad cartoons controversy, the contributors inquire into the role that racial and ethnic stereotypes play in visual humor and the thin line that separates broad characterization as a source of humor from its power to shock or exploit. The authors investigate the ways in which humor is used to demean or give identity to racial, national, or ethnic groups and explore how humor works differently in different media, such as cartoons, photographs, film, video, television, and physical performance. This is a timely and necessary study that will appeal to scholars across disciplines.

This book examines how the media--including advertising, motion pictures, cartoons, and popular fiction--has used racist images and stereotypes as marketing tools that malign and debase African Americans, Latinos, American Indians, and Asian Americans in the United States. * Addresses the current and important subject of how the powerful and pervasive messages in the media communicate and reinforce common racial stereotypes about people of color to vast audiences--especially children * Examines popular depictions of people of color going back to the 1880s and details how those depictions have changed * Explores "fun" subject matter that student readers find interesting--pop culture and how it shapes our daily experiences--with an analytical, critical edge

This collection of thirteen essays, edited by historian W. Fitzhugh Brundage, brings together original work from sixteen scholars in various disciplines, ranging from theater and literature to history and music, to address the complex roles of black performers, entrepreneurs, and consumers in American mass culture during the early twentieth century. Moving beyond the familiar territory of blackface and minstrelsy, these essays present a fresh look at the history of African Americans and mass culture. With subjects ranging from representations of race in sheet music illustrations to African American interest in Haitian culture, Beyond Blackface recovers the history of forgotten or obscure cultural figures and shows how these historical actors played a role in the creation of American mass culture. The essays explore the predicament that blacks faced at a time when white supremacy crested and innovations in consumption, technology, and leisure made mass culture possible. Underscoring the importance and complexity of race in the emergence of mass culture, Beyond Blackface depicts popular culture as a crucial arena in which African Americans struggled to secure a foothold as masters of their own representation and architects of the nation's emerging consumer society. The contributors are: Davarian L. Baldwin, Trinity College W. Fitzhugh Brundage, University of North Carolina at Chapel Hill Clare Corbould, University of Sydney Susan Curtis, Purdue University Stephanie Dunson, Williams College Lewis A. Erenberg, Loyola University Chicago Stephen Garton, University of Sydney John M. Giggie, University of Alabama Grace Elizabeth Hale, University of Virginia Robert Jackson, University of Tulsa David Krasner, Emerson College Thomas Riis, University of Colorado at Boulder Stephen Robertson, University of Sydney John Stauffer, Harvard University Graham White, University of Sydney Shane White, University of Sydney

The stereotype of the African American male as a criminal element in society continues to be a major obstacle to greater racial harmony and the elimination of discrimination and racism on all levels in the United States. Often, this criminal stereotype is internalized by African American youth, so they are made to feel as though delinquent behavior is expected from them, and many fall into this trap. Black Demons examines this stereotype and contends that much of the blame for its perpetuation comes from U.S. mass media's negative depictions of African American males. Rome argues that these images foster the myths that help to deepen and strengthen the stereotypes that have plagued the African American community since colonial times. By examining the origins of this criminal stereotype, how it has been used historically, and how it is presently employed, Rome reveals a dangerous current in media depictions of African Americans, one that threatens that community and taints U.S. society as it tries to overcome the legacy of racism. The African American male criminal stereotype continues to be used to justify covert and overt racism in contemporary U.S. society. From television to cinema, music to news coverage, mass media continue to depict African American males running from the law, committing crimes, victimizing women, and generally engaging in illegal behavior. Here, Rome examines those images and offers an explanation for this phenomenon. He discusses the impact of these images on both the African American community and on U.S. society in general. He considers the notion that there is a black pathology, a fundamental weakness in African American families that can be traced back to their experiences as slaves. Finally, he concludes that both the news media and entertainment outlets must discontinue their practice of equating young African American males with aggressiveness, lawlessness, and violence if racism is every to be truly abolished in the United States.

This thought-provoking work examines the dehumanizing depictions of black males in the movies since 1910, analyzing images that were once imposed on black men and are now appropriated and manipulated by them. * Discusses the social, historical, and literary evolution of African American male roles in the cinema * Analyzes the various black images presented each decade from blackface, Sambo, and Mandingo stereotypes to archetypal figures such as God, superheroes, and the president * Shows how African American actors, directors, and producers manipulate negative and positive images to advance their careers, profit financially, and make social statements to create change * Demonstrates the correlation between political and social movements and their impact on the cultural transformation of African American male images on screen over the past 100 years * Includes figures that demonstrate the correlation between political and social movements and their impact on cultural transformation and African American male images on screen

Even well-meaning fiction writers of the late Jim Crow era (1900-1955) perpetuated racial stereotypes in their depiction of black characters. From 1918 to 1952, Octavus Roy Cohen turned out a remarkable 360 short stories featuring Florian Slappey and the schemers, romancers and ditzes of Birmingham's Darktown for The Saturday Evening Post and other publications. Cohen said, "I received a great deal of mail from Negroes and I have never found any resentment from a one of them." The black readership had to be satisfied with any black presence in the popular literature of the day. The best known white writers of black characters included Booth Tarkington (Herman and Verman in the Penrod books), Irvin S. Cobb (Judge Priest's houseman Jeff Poindexter), Roark Bradford (Widow Duck, the plantation matriarch), Hugh Wiley (Wildcat Marsden, the war veteran who traveled the country in the company of his goat) and Charles Correll and Freeman Gosden (radio's Amos 'n' Andy). These writers deservedly declined in the civil rights era, but left a curious legacy that deserves examination. This book, focusing on authors of series fiction and particularly of humorous stories, profiles 29 writers and their black characters in detail, with brief entries covering 72 others.

When Aunt Jemima beamed at Americans from the pancake mix box on grocery shelves, many felt reassured by her broad smile that she and her product were dependable. She was everyone's mammy, the faithful slave who was content to cook and care for whites, no matter how gruelling the labour, because she loved them. This far-reaching image of the nurturing black mother exercises a tenacious hold on the American imagination.Micki McElya examines why we cling to mammy. She argues that the figure of the loyal slave has played a powerful role in modern American politics and culture. Loving, hating, pitying, or pining for mammy became a way for Americans to make sense of shifting economic, social, and racial realities. Assertions of black people's contentment with servitude alleviated white fears while reinforcing racial hierarchy. African American resistance to this notion was varied but often placed new constraints on black women.McElya's stories of faithful slaves expose the power and reach of the myth, not only in popular advertising, films, and literature about the South, but also in national monument proposals, child custody cases, white women's minstrelsy, New Negro activism, anti-lynching campaigns, and the civil rights movement. The colour line and the vision of interracial motherly affection that helped maintain it have persisted into the 21st century. If we are to reckon with the continuing legacy of slavery in the United States, McElya argues, we must confront the depths of our desire for mammy and recognize its full racial implications.

From The Real Housewives of Atlanta to Flavor of Love, reality shows with predominantly black casts have often been criticized for their negative representation of African American women as loud, angry, and violent. Yet even as these programs appear to be rehashing old stereotypes of black women, the critiques of them are arguably problematic in their own way, as the notion of "respectability" has historically been used to police black women's behaviors.   The first book of scholarship devoted to the issue of how black women are depicted on reality television, Real Sister offers an even-handed consideration of the genre. The book's ten contributors--black female scholars from a variety of disciplines--provide a wide range of perspectives, while considering everything from Basketball Wives to Say Yes to the Dress. As regular viewers of reality television, these scholars are able to note ways in which the genre presents positive images of black womanhood, even as they catalog a litany of stereotypes about race, class, and gender that it tends to reinforce.   Rather than simply dismissing reality television as "trash," this collection takes the genre seriously, as an important touchstone in ongoing cultural debates about what constitutes "trashiness" and "respectability." Written in an accessible style that will appeal to reality TV fans both inside and outside of academia, Real Sister thus seeks to inspire a more nuanced, thoughtful conversation about the genre's representations and their effects on the black community. 

Jezebel's sexual lasciviousness, Mammy's devotion, and Sapphire's outspoken anger—these are among the most persistent stereotypes that black women encounter in contemporary American life. Hurtful and dishonest, such representations force African American women to navigate a virtual crooked room that shames them and shapes their experiences as citizens. Many respond by assuming a mantle of strength that may convince others, and even themselves, that they do not need help. But as a result, the unique political issues of black women are often ignored and marginalized. In this groundbreaking book, Melissa V. Harris-Perry uses multiple methods of inquiry, including literary analysis, political theory, focus groups, surveys, and experimental research, to understand more deeply black women's political and emotional responses to pervasive negative race and gender images. Not a traditional political science work concerned with office-seeking, voting, or ideology, Sister Citizen instead explores how African American women understand themselves as citizens and what they expect from political organizing. Harris-Perry shows that the shared struggle to preserve an authentic self and secure recognition as a citizen links together black women in America, from the anonymous survivors of Hurricane Katrina to the current First Lady of the United States.

In 2010, the governor of Arizona signed a controversial immigration bill (SB 1070) that led to a news media frenzy, copycat bills in twenty-two states, and a U.S. Supreme Court battle that put Arizona at the cross-hairs of the immigration debate. Arizona Firestorm brings together well-respected experts from across the political spectrum to examine and contextualize the political, economic, historical, and legal issues prompted by this and other anti-Latino and anti-immigrant legislation and state actions. It also addresses the news media's role in shaping immigration discourse in Arizona and around the globe. Arizona is a case study of the roots and impact of the 21st century immigration challenge. Arizona Firestorm will be of interest to scholars and students in communication, public policy, state politics, federalism, and anyone interested in immigration policy or Latino politics.

While undocumented immigration is controversial, the general public is largely unfamiliar with the particulars of immigration policy. Given that public opinion on the topic is malleable, to what extent do mass media shape the public debate on immigration? In Framing Immigrants, political scientists Chris Haynes, Jennifer Merolla, and Karthick Ramakrishnan explore how conservative, liberal, and mainstream news outlets frame and discuss undocumented immigrants. Drawing from original voter surveys, they show that how the media frames immigration has significant consequences for public opinion and has implications for the passage of new immigration policies.   The authors analyze media coverage of several key immigration policy issues--including mass deportations, comprehensive immigration reform, and measures focused on immigrant children, such as the DREAM Act--to chart how news sources across the ideological spectrum produce specific "frames" for the immigration debate. In the past few years, liberal and mainstream outlets have tended to frame immigrants lacking legal status as "undocumented" (rather than "illegal") and to approach the topic of legalization through human-interest stories, often mentioning children. Conservative outlets, on the other hand, tend to discuss legalization using impersonal statistics and invoking the rule of law. Yet, regardless of the media's ideological positions, the authors' surveys show that "negative" frames more strongly influence public support for different immigration policies than do positive frames. For instance, survey participants who were exposed to language portraying immigrants as law-breakers seeking "amnesty" tended to oppose legalization measures. At the same time, support for legalization was higher when participants were exposed to language referring to immigrants living in the United States for a decade or more.   Framing Immigrants shows that despite heated debates on immigration across the political aisle, the general public has yet to form a consistent position on undocumented immigrants. By analyzing how the media influences public opinion, this book provides a valuable resource for immigration advocates, policymakers, and researchers.  

In The Migrant Image T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South. He analyzes how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images. Throughout Demos shows the ways these artists creatively propose new possibilities for a politics of equality, social justice, and historical consciousness from within the aesthetic domain.

  In recent years Greece and Spain have seen an influx of immigrants from nearby developing nations. And as their foreign populations grew, both countries' national medias documented the change and, in the process, shaped perceptions of the immigrant groups by their new countries and the world.         Picturing Immigration offers a comparative study of the photojournalistic framing of immigrants in these two southern European nations. Going beyond traditional media analysis, it focuses on images rather than text to explore a host of hot topics, including media representation of minorities, immigration, and stereotypes.

From the exuberant excesses of Carmen Miranda in the "tutti frutti hat" to the curvaceous posterior of Jennifer Lopez, the Latina body has long been a signifier of Latina/o identity in U.S. popular culture. But how does this stereotype of the exotic, erotic Latina "bombshell" relate, if at all, to real Latina women who represent a wide spectrum of ethnicities, national origins, cultures, and physical appearances? How are ideas about "Latinidad" imagined, challenged, and inscribed on Latina bodies? What racial, class, and other markers of identity do representations of the Latina body signal or reject? In this broadly interdisciplinary book, experts from the fields of Latina/o studies, media studies, communication, comparative literature, women's studies, and sociology come together to offer the first wide-ranging look at the construction and representation of Latina identity in U.S. popular culture. The authors consider such popular figures as actresses Lupe Vélez, Salma Hayek, and Jennifer Lopez; singers Shakira and Celia Cruz; and even the Hispanic Barbie doll in her many guises. They investigate the media discourses surrounding controversial Latinas such as Lorena Bobbitt and Marisleysis González. And they discuss Latina representations in Lupe Solano's series of mystery books and in the popular TV shows El Show de Cristina and Laura en América. This extensive treatment of Latina representation in popular culture not only sheds new light on how meaning is produced through images of the Latina body, but also on how these representations of Latinas are received, revised, and challenged.

The bandido, the harlot, the male buffoon, the female clown, the Latin lover, and the dark lady--these have been the defining, and demeaning, images of Latinos in U.S. cinema for more than a century. In this book, Charles Ramírez Berg develops an innovative theory of stereotyping that accounts for the persistence of such images in U.S. popular culture. He also explores how Latino actors and filmmakers have actively subverted and resisted such stereotyping. In the first part of the book, Berg sets forth his theory of stereotyping, defines the classic stereotypes, and investigates how actors such as Raúl Julia, Rosie Pérez, José Ferrer, Lupe Vélez, and Gilbert Roland have subverted stereotypical roles. In the second part, he analyzes Hollywood's portrayal of Latinos in three genres: social problem films, John Ford westerns, and science fiction films. In the concluding section, Berg looks at Latino self-representation and anti-stereotyping in Mexican American border documentaries and in the feature films of Robert Rodríguez. He also presents an exclusive interview in which Rodríguez talks about his entire career, from Bedhead to Spy Kids, and comments on the role of a Latino filmmaker in Hollywood and how he tries to subvert the system.

From Thomas Edison's first cinematic experiments to contemporary Hollywood blockbusters, Queer Images chronicles the representation of lesbian, gay, bisexual, and queer sexualities over one hundred years of American film. The most up-to-date and comprehensive book of its kind, it explores not only the ever-changing images of queer characters onscreen, but also the work of queer filmmakers and the cultural histories of queer audiences. Queer Images surveys a wide variety of films, individuals, and subcultures, including the work of discreetly homosexual filmmakers during Hollywood's Golden Age; classical Hollywood's (failed) attempt to purge 'sex perversion' from films; the development of gay male camp in Hollywood cinema; queer exploitation films and gay physique films; the queerness of 1960s Underground Film practice; independent lesbian documentaries and experimental films; cinematic responses to the AIDS crisis; the rise and impact of New Queer Cinema; the growth of LGBT film festivals; and how contemporary Hollywood deals with queer issues. This entertaining and insightful book reveals how the meaning of sexual identity--as reflected on the silver screen--has changed a great deal over the decades, and it celebrates both the pioneers and contemporary practitioners of queer film in America. Queer Images is an essential volume for film buffs and anyone interested in sexuality and culture.

Queer Media Images: LGBT Perspectives presents fifteen chapters that address how the gay, lesbian, bisexual, and transgendered communities are depicted in the media. This collection focuses on how the LGBT community has been silenced or given voice through the media. Through a study of queer media images, this book scrutinizes LGBT media representations and how these representations contribute to a dialogue about civil rights for this marginalized community. While the communication discipline has been open to the LGBT community, there has been an absence of published research and a marginalizing or tokenizing of the queer voice. Through a study of media representations, this unique collection provides a snapshot into the issues surrounding LGBT identity during a time when the Defense of Marriage Act is called into question and explores what it means to study images through a queer lens.

This three-volume collection of essays reveals the widespread existence of queer men and women in American popular culture, and showcases their important yet little-known role in shaping our society over the last 120 years. * Offers a collection of works by 39 distinguished international contributors, each an expert in his/her field * Includes 45 in-depth essays, all but three of which were written specifically for this three-volume set * An index in each volume allows for easy access by subject and by proper name

Mention "American Indian," and the first image that comes to most people's minds is likely to be a figment of the American mass media: A war-bonneted chief. The Land O' Lakes maiden. Most American Indians in the twenty-first century live in urban areas, so why do the mass media still rely on Indian imagery stuck in the eighteenth and nineteenth centuries? How can more accurate views of contemporary Indian cultures replace such stereotypes? These and similar questions ground the essays collected in American Indians and the Mass Media, which explores Native experience and the mainstream media's impact on American Indian histories, cultures, and communities. Chronicling milestones in the relationship between Indians and the media, some of the chapters employ a historical perspective, and others focus on contemporary practices and new technologies. All foreground American Indian perspectives missing in other books on mass communication. The historical studies examine treatment of Indians in America's first newspaper, published in seventeenth-century Boston, and in early Cherokee newspapers; Life magazine's depictions of Indians, including the famous photograph of Ira Hayes raising the flag at Iwo Jima; and the syndicated feature stories of Elmo Scott Watson. Among the chapters on more contemporary issues, one discusses campaigns to change offensive place-names and sports team mascots, and another looks at recent movies such as Smoke Signals and television programs that are gradually overturning the "movie Indian" stereotypes of the twentieth century. Particularly valuable are the essays highlighting authentic tribal voices in current and future media. Mark Trahant chronicles the formation of the Native American Journalists Association, perhaps the most important early Indian advocacy organization, which he helped found. As the contributions on new media point out, American Indians with access to a computer can tell their own stories--instantly to millions of people--making social networking and other Internet tools effective means for combating stereotypes. Including discussion questions for each essay and an extensive bibliography, American Indians and the Mass Media is a unique educational resource.

Native American sports team mascots represent a contemporary problem for modern Native American people. The ideas embedded in the mascot representations, however, are as old as the ideas constructed about the Indian since contact between the peoples of Western and the Eastern hemispheres. Such ideas conceived about Native Americans go hand-in-hand with the machinations of colonialism and conquest of these people. This research looks at how such ideas inform the construction of identity of white males from historic experiences with Native Americans. Notions of "playing Indian" and of "going Native" are precipitated from these historic contexts such that in the contemporary sense of considering Native Americans, popular culture ideas dress Native Americans in feathers and buckskin in order to satisfy stereotypic expectations of Indian-ness.

After 1850, Americans swarmed to take in a raft of new illustrated journals and papers. Engravings and drawings of "buckskinned braves" and "Indian princesses" proved an immensely popular attraction for consumers of publications like Frank Leslie's Illustrated Newspaper and Harper's Weekly . In Indians Illustrated , John M. Coward charts a social and cultural history of Native American illustrations--romantic, violent, racist, peaceful, and otherwise--in the heyday of the American pictorial press. These woodblock engravings and ink drawings placed Native Americans into categories that drew from venerable "good" Indian and "bad" Indian stereotypes already threaded through the culture. Coward's examples show how the genre cemented white ideas about how Indians should look and behave--ideas that diminished Native Americans' cultural values and political influence. His powerful analysis of themes and visual tropes unlocks the racial codes and visual cues that whites used to represent--and marginalize--native cultures already engaged in a twilight struggle against inexorable westward expansion.

"These shows made me sad, reminding me of all my people have lost due to forced or voluntary assimilation into white society. Our language, our traditions, our history, our stories, our identity, they have all been diminished." -- A study participant According to an early 1990s study, 95 percent of what college students know about Native Americans was acquired through the media, leading to widespread misunderstandings of First Nations peoples. Sierra Adare contends that negative "Indian" stereotypes do physical, mental, emotional, and financial harm to First Nations individuals. At its core, this book is a social study whose purpose is to explore the responses of First Nations peoples to representative "Indian" stereotypes portrayed within the TV science fiction genre. Participants in Adare's study viewed episodes from My Favorite Martian, Star Trek, Star Trek: Voyager, Quantum Leap, The Adventures of Superman, and Star Trek: The Next Generation. Reactions by viewers range from optimism to a deep-rooted sadness. The strongest responses came after viewing a Superman episode's depiction of an "evil medicine man" who uses a ceremonial pipe to kill a warrior. The significance of First Nations peoples' responses and reactions are both surprising and profound. After publication of "Indian" Stereotypes in TV Science Fiction, ignorance can no longer be used as an excuse for Hollywood's irresponsible depiction of First Nations peoples' culture, traditions, elders, religious beliefs, and sacred objects.

The image in Hollywood movies of savage Indians attacking white settlers represents only one side of a very complicated picture. In fact sympathetic portrayals of Native Americans stood alongside those of hostile Indians in the silent films of D. W. Griffith and Cecil B. DeMille, and flourished during the early 1930s with Hollywood's cycle of pro-Indian adventures. Decades later, the stereotype became even more complicated, as films depicted the savagery of whites ("The Searchers") in contrast to the more peaceful Indian ("Broken ArroW"). By 1990 the release of "Dances with Wolves" appeared to have recycled the romantic and savage portrayals embedded in early cinema. In this new study, author Angela Aleiss traces the history of Native Americans on the silver screen, and breaks new ground by drawing on primary sources such as studio correspondence, script treatments, trade newspapers, industry censorship files, and filmmakers' interviews to reveal how and why Hollywood created its Indian characters. Behind-the-scenes anecdotes of filmmakers and Native Americans, as well as rare archival photographs, supplement the discussion, which often shows a stark contrast between depiction and reality. The book traces chronologically the development of the Native American's screen image while also examining many forgotten or lost Western films. Each chapter will feature black and white stills from the films discussed.

Sports mascots have been a tradition for decades. Along with the usual lions and tigers, many schools are represented by Native American images. Once considered a benign practice, numerous studies have proved just the opposite: that the use of Native American mascots in educational institutions has perpetuated a shameful history of racial insensitivity. "The Native American Mascot Controversy" provides an overview of the issues that have been associated with this topic for the past 40 years.

Since the early days of the silent era, Native Americans have been captured on film, often in unflattering ways. Over the decades, some filmmakers have tried to portray the Native American on screen with more balanced interpretations--to varying degrees of success. More recent films such as The New World, Flags of Our Fathers, and Frozen River have offered depictions of both historical and contemporary Native Americans, providing viewers with a range of representations. In Native Americans in the Movies: Portrayals from Silent Films to the Present, Michael Hilger surveys more than a century of cinema. Drawing upon his previous work, From Savage to Nobleman, Hilger presents a thorough revision of the earlier volume. The introductory material has not only been revised with updated information and examples but also adds discussions of representative films produced since the mid-1990s. Now organized alphabetically, the entries on individual films cover all relevant works made over the past century, and each entry contains much more information than those in the earlier book. Details include -film summary -nation represented -image portrayal -production details -DVD availability Many of the entries also contain comments from film critics to indicate how the movies were regarded at the time of their theatrical release. Supplemented by appendixes of image portrayals, representations of nations, and a list of made-for-television movies, this volume offers readers a comprehensive and up-to-date overview of hundreds of films in which Native American characters have appeared on the big screen. As such, Native Americans in the Movies will appeal not only to scholars of media, ethnic studies, and history but also to anyone interested in the portrayal of Native Americans in cinema.

The American Indian has figured prominently in many films and television shows, portrayed variously as a villain, subservient friend, or a hapless victim of progress. Many Indian stereotypes that were derived from European colonial discourse--some hundreds of years old--still exist in the media today. Even when set in the contemporary era, novels, films, and programs tend to purvey rehashed tropes such as Pocahontas or man Friday. In Native Americans on Network TV: Stereotypes, Myths, and the "Good Indian," Michael Ray FitzGerald argues that the colonial power of the U.S. is clearly evident in network television's portrayals of Native Americans. FitzGerald contends that these representations fit neatly into existing conceptions of colonial discourse and that their messages about the "Good Indian" have become part of viewers' understandings of Native Americans. In this study, FitzGerald offers close examinations of such series as The Lone Ranger, Daniel Boone, Broken Arrow, Hawk, Nakia, and Walker, Texas Ranger. By examining the traditional role of stereotypes and their functions in the rhetoric of colonialism, the volume ultimately offers a critical analysis of images of the "Good Indian"--minority figures that enforce the dominant group's norms. A long overdue discussion of this issue, Native Americans on Network TV will be of interest to scholars of television and media studies, but also those of Native American studies, subaltern studies, and media history.

The Washington Redskins franchise remains one of the most valuable in professional sports, in part because of its easily recognizable, popular, and profitable brand.   And yet "redskins" is a derogatory name for American Indians. The number of grassroots campaigns to change the name has risen in recent years despite the current team owner's assertion that the team will never do so. Franchise owners counter criticism by arguing that the team name is positive and a term of respect and honor that many American Indians embrace. The NFL, for its part, actively defends the name and supports it in court. Prominent journalists, politicians, and former players have publicly spoken out against the use of "Redskins" as the name of the team. Sportscaster Bob Costas denounced the name as a racial slur during a halftime show in 2013. U.S. Representative Betty McCollum marched outside the stadium with other protesters--among them former Minnesota Vikings player Joey Browner--urging that the name be changed. Redskins: Insult and Brand examines how the ongoing struggle over the team name raises important questions about how white Americans perceive American Indians, about the cultural power of consumer brands, and about continuing obstacles to inclusion and equality. C. Richard King examines the history of the team's name, the evolution of the term "redskin," and the various ways in which people both support and oppose its use today. King's hard-hitting approach to the team's logo and mascot exposes the disturbing history of a moniker's association with the NFL--a multibillion-dollar entity that accepts public funds--as well as popular attitudes toward Native Americans today.

At once informative, comic, and plaintive, Seeing Red--Hollywood's Pixeled Skins is an anthology of critical reviews that reexamines the ways in which American Indians have traditionally been portrayed in film. From George B. Seitz's 1925 The Vanishing American to Rick Schroder's 2004 Black Cloud, these 36 reviews by prominent scholars of American Indian Studies are accessible, personal, intimate, and oftentimes autobiographic. Seeing Red--Hollywood's Pixeled Skins offers indispensible perspectives from American Indian cultures to foreground the dramatic, frequently ridiculous difference between the experiences of Native peoples and their depiction in film. By pointing out and poking fun at the dominant ideologies and perpetuation of stereotypes of Native Americans in Hollywood, the book gives readers the ability to recognize both good filmmaking and the dangers of misrepresenting aboriginal peoples. The anthology offers a method to historicize and contextualize cinematic representations spanning the blatantly racist, to the well-intentioned, to more recent independent productions. Seeing Red is a unique collaboration by scholars in American Indian Studies that draws on the stereotypical representations of the past to suggest ways of seeing American Indians and indigenous peoples more clearly in the twenty-first century.

After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of "the enemy" during the War on Terror.   Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as "simplified complex representations." This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a "positive" representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype.  Analyzing how TV dramas such as West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.

Can Muslims ever fully be citizens of the West? Can the values of Islam ever be brought into accord with the individual freedoms central to the civic identity of Western nations? Not if you believe what you see on TV. Whether the bearded fanatic, the veiled, oppressed female, or the shadowy terrorist plotting our destruction, crude stereotypes permeate public representations of Muslims in the United States and western Europe. But these "Muslims" are caricatures--distorted abstractions, wrought in the most garish colors, that serve to reduce the diversity and complexity of the Muslim world to a set of fixed objects suitable for sound bites and not much else. In Framing Muslims: Stereotyping and Representation after 9/11, Peter Morey and Amina Yaqin dissect the ways in which stereotypes depicting Muslims as an inherently problematic presence in the West are constructed, deployed, and circulated in the public imagination, producing an immense gulf between representation and a considerably more complex reality. Crucially, they show that these stereotypes are not solely the province of crude-minded demagogues and their tabloid megaphones, but multiply as well from the lips of supposedly progressive elites, even those who presume to speak "from within," on Muslims' behalf. Based on nuanced analyses of cultural representations in both the United States and the UK, the authors draw our attention to a circulation of stereotypes about Muslims that sometimes globalizes local biases and, at other times, brings national differences into sharper relief.

Jewish film characters have existed almost as long as the medium itself. But around 1990, films about Jews and their representation in cinema multiplied and took on new forms, marking a significant departure from the past. With a fresh generation of Jewish filmmakers, writers, and actors at work, contemporary cinemas have been depicting a multiplicity of new variants, including tough Jews; brutish Jews; gay and lesbian Jews; Jewish cowboys, skinheads, and superheroes; and even Jews in space. The New Jew in Film is grounded in the study of over three hundred films from Hollywood and beyond. Nathan Abrams explores these new and changing depictions of Jews, Jewishness, and Judaism, providing a wider, more representative picture of this transformation. In this compelling, surprising, and provocative book, chapters explore masculinity, femininity, passivity, agency, and religion in addition to a departure into new territory--including bathrooms and food.  Abrams's concern is to reveal how the representation of the Jew is used to convey confidence or anxieties about Jewish identity and history as well as questions of racial, sexual, and gender politics. In doing so, he provides a welcome overview of important Jewish films produced globally over the past twenty years.

Countless movies have portrayed Arabs as loathsome lechers who terrorise, murder, and finally die in droves. In Reel Bad Arabs film scholar Jack Shaheen exposes in fascinating detail this appalling side of the Hollywood 'dream' machine.

In the wake of September 11th. Muslim women in the West found themselves more marginalized than ever by a panicked discourse that did little to promote a true understanding of Islam or the Islamic world. Here. in this ambitious volume that includes essays. poetry, fiction, memoir, plays, and artwork, Muslim women speak for themselves, revealing a complexity of experience and thought that escapes most Western portrayals. Islam is, as editor Fawzia Afzal-Khan puts it only "one spoke in the wheel of our lives." In Shattering the Stereotypes. essays by such writers as Ayesha Jalal, the Pakistani-American historian, poems by award-winning poets including Sucheir Hammad and Nathalie Handal, and a selection of short fiction and plays that are not just ethnically but attitudinally diverse, together make a more rounded portrait of what it is to be a Muslim woman in the 21st century.

Challenging Images of Women and the Media: Reinventing Women's Lives, edited by Theresa Carilli and Jane Campbell, collects fifteen articles addressing the status of women through an examination of depictions of women in the media. This in-depth study shows how mixed messages from the media muddle attempts at breaking the "glass screen," causing women to constantly question their role in global culture. With cake ads followed by diet commercials, the media's depiction of women is both confusing and contradictory. While more and more women have begun to contribute to the media as respected anchors, talk show hosts, and commentators, these portrayals are often counteracted by music videos and reality television shows such as Jersey Shore. This collection seeks to analyze these depictions and their effects on women and culture. The contributors to this anthology hail from such diverse locations as Japan, Australia, Pakistan, India, China, Bulgaria, and the United States. With this global focus, Challenging Images of Women in the Media scrutinizes issues of race, ethnicity, class, and sexuality through a study of gendered media portrayals. By challenging the status quo of media images, the contributors to this essential volume invite a dialogue about women's lives.

In the broad spectrum of popular culture, one can be a fan of just about anything comic books, television shows, fantasy novels, movie franchises, musicals artists, and so on. And though the definition of fan is extremely broad, many people make simplistic assumptions about them. Because fans are fluid and ever-changing, however, defining them poses a challenge. As a result, too few scholars have yet to focus on the impact of gender in media consumption, leading to a limited portrait of what male and female fans are looking for. In Fan Girls and the Media: Creating Characters, Consuming Culture, Adrienne Trier-Bieniek has assembled a collection of essays that demonstrate the gendered aspect of fandom while also exploring the ways different forms of media are challenging stereotypical ideals of how culture is consumed. Contributors to this volume examine a wide range of fan issues from gendered stereotypes in the Star Trek and Twilight franchises to gender roles in a Tyler Perry film and The Real Housewives of Atlanta. Additional essays look at the female comedy fan community, the fan appeal of avenging-women written by men, and the use of social media by females in video game culture. Looking at how gender is present in fandom, this collection demonstrates the need to combat the marginalization of female identities in various cultural outlets. Fan Girls and the Media will be of interest to those studying fandom, of course, but also to students and scholars of sociology, media, and gender studies."

In this book the authors present current research in the study of feminism. Topics discussed in this compilation include the feminist focus on women and substance abuse treatment; the question of whether or not purely female societies can truly exist; women in elite positions within medicine; black women and their situation of discrimination and vulnerability in Brazil; the impact of migration on the reconfiguration of family dynamics; feminism and difference; theorizing African feminism; gender stereotypes and the effect on women's persistence in STEM fields; and an antidote for global feminist gaps as encoded in Sindiwe Magona's black south African autobiographies.

The release of Skyfall in 2012 marked the fiftieth anniversary of the James Bond film franchise. It earned over one billion dollars in the worldwide box office and won two Academy Awards. Amid popular and critical acclaim, some have questioned the representation of women in the film. From an aging M to the limited role of the Bond Girl and the characterization of Miss Moneypenny as a defunct field agent, Skyfall develops the legacy of Bond at the expense of women. Since Casino Royale (2006) and its sequels Quantum of Solace (2008) and Skyfall constitute a reboot of the franchise, it is time to question whether there is a place for women in the new world of James Bond and what role they will play in the future of series. This volume answers these questions by examining the role that women have historically played in the franchise, which greatly contributed to the international success of the films. This academic study constitutes the first book-length anthology on femininity and feminism in the Bond series. It covers all twenty-three Eon productions as well as the spoof Casino Royale (1967), considering a range of factors that have shaped the depiction of women in the franchise, including female characterization in Ian Fleming's novels; the vision of producer Albert R. Broccoli and other creative personnel; the influence of feminism; and broader trends in British and American film and television. The volume provides a timely look at women in the Bond franchise and offers new scholarly perspectives on the subject.

Media Depictions of Brides, Wives, and Mothers, edited by Alena Amato Ruggerio, explores how television, film, the internet, and other media variously perpetuate gender stereotypes. The contributors to this volume bring a variety of feminist rhetorical and media criticism approaches from across the communication discipline to their analyses of how television, film, news coverage, and the Internet shape our expectations of the performance of women's identities. This collection includes studies of Bridezillas, Jon & Kate Plus 8, Sex and the City, Sarah Palin, Nancy Pelosi, The Devil Wears Prada, Practical Magic, "momtini" blogs, and Mad Men fan websites. Readers will learn to apply the insights from each chapter to their own sets of myths, stereotypes, and assumptions about gendered roles, and to recognize the possibilities for both liberation and domination when women's practices of marrying, mating, and mothering are represented and misrepresented in the media. This collection is an essential contribution to media studies and criticism of gender stereotypes in contemporary culture. Read the author's recent interview with Literary Ashland. You can also visit the author's website here.

In the 1990s, American televison audiences witnessed anunprecedented rise in programming devoted explicitly to women. Cablenetworks such as Oxygen Media, Women's Entertainment Network, and Lifetime targeted a female audience, and prime_time dramaticseries such as Buffy the Vampire Slayer, Judging Amy, Gilmore Girls, Sex and the City, and Ally McBeal empowered heroines, single careerwomen, and professionals struggling with family commitments andoccupational demands. After establishing this phenomenon'ssignificance, Amanda D. Lotz explores the audience profile, the types ofnarrative and characters that recur, and changes to the industrylandscape in the wake of media consolidation and a profusion ofchannel

What elements of American political and rhetorical culture block the imagining--and thus, the electing--of a woman as president? Examining both major-party and third-party campaigns by women, including the 2008 campaigns of Hillary Clinton and Sarah Palin, the authors of Woman President: Confronting Postfeminist Political Culture identify the factors that limit electoral possibilities for women. Pundits have been predicting women's political ascendency for years. And yet, although the 2008 presidential campaign featured Hillary Clinton as an early frontrunner for the Democratic presidential nomination and Sarah Palin as the first female Republican vice-presidential nominee, no woman has yet held either of the top two offices. The reasons for this are complex and varied, but the authors assert that the question certainly encompasses more than the shortcomings of women candidates or the demands of the particular political moment. Instead, the authors identify a pernicious backlash against women presidential candidates--one that is expressed in both political and popular culture. In Woman President: Confronting Postfeminist Political Culture, Kristina Horn Sheeler and Karrin Vasby Anderson provide a discussion of US presidentiality as a unique rhetorical role. Within that framework, they review women's historical and contemporary presidential bids, placing special emphasis on the 2008 campaign. They also consider how presidentiality is framed in candidate oratory, campaign journalism, film and television, digital media, and political parody.

Through the lens of feminist criminology, this volume examines the complex interrelationship of women, violence, and media presentations. The book is divided into three sections. The first, “Gendering Constructions,” lays the groundwork for the volume by examining the print media’s presentation of gendered violence, female killers on Law and Order, African American women in Hollywood films, and women in media, crime, and violence textbooks. The second section, “Debating the Issues,” explores aspects of femicide, including mass murder incidents, domestic violence in Bangladesh, and wartime sexual violence in reality and on television. The final section “Changing the Image,” focuses on efforts to replace masculine assumptions with constructive approaches to imagining women. Designed for course adoption, Women, Violence, and the Media emphasizes the key themes and critical skills required for media literacy, and the volume offers guidelines for readers on conducting their own research.

Ever since Eve tempted Adam with her apple, women have been regarded as a corrupting and destructive force. The very idea that women can be used as interrogation tools, as evidenced in the infamous Abu Ghraib torture photos, plays on age-old fears of women as sexually threatening weapons, and therefore the literal explosion of women onto the war scene should come as no surprise. From the female soldiers involved in Abu Ghraib to Palestinian women suicide bombers, women and their bodies have become powerful weapons in the Afghanistan and Iraq wars. In Women as Weapons of War, Kelly Oliver reveals how the media and the administration frequently use metaphors of weaponry to describe women and female sexuality and forge a deliberate link between notions of vulnerability and images of violence. Focusing specifically on the U.S. campaigns in Afghanistan and Iraq, Oliver analyzes contemporary discourse surrounding women, sex, and gender and the use of women to justify America's decision to go to war. For example, the administration's call to liberate "women of cover," suggesting a woman's right to bare arms is a sign of freedom and progress. Oliver also considers what forms of cultural meaning, or lack of meaning, could cause both the guiltlessness demonstrated by female soldiers at Abu Ghraib and the profound commitment to death made by suicide bombers. She examines the pleasure taken in violence and the passion for death exhibited by these women and what kind of contexts created them. In conclusion, Oliver diagnoses our cultural fascination with sex, violence, and death and its relationship with live news coverage and embedded reporting, which naturalizes horrific events and stymies critical reflection. This process, she argues, further compromises the borders between fantasy and reality, fueling a kind of paranoid patriotism that results in extreme forms of violence.

This groundbreaking book challenges the medicalized approach to women's experiences including menstruation, pregnancy, and menopause and suggests that there are better ways for women to cope with real issues they may face. * Addresses popular topics including the "thin ideal," the health realities of weight, cosmetic surgery, birth as a medical emergency, sexual desire and menopause, depression, and mourning * Critiques the "science" and marketing that sees all women's complaints as symptoms, diseases, and dysfunctions requiring medical treatment * Explains how psychological and social factors affect women's health and argues for a more well-founded approach such as using talk therapy first * Explains why events like menopause, sexual desire, body dissatisfaction, and grief are examples of issues often not best treated with drugs, but with psychotherapy for permanent resolution * Will appeal to all adult women who might, or do, question current medical approaches and media promises