Screening “The Other”: The Movies, Race and Ethnicity Gary Handman Director Media Resources Center Moffitt Library

“What Is Cinema?” --Jacques Bazin

A wildly popular, 120-year old diversion and entertainment. A wildly popular, 120-year old diversion and entertainment. An increasingly complex artistic endeavor involving various “authors” and “actualizers” (screenwriters, directors, actors, technicicans)An increasingly complex artistic endeavor involving various “authors” and “actualizers” (screenwriters, directors, actors, technicicans) A highly exportable commodity: a global good with impact on global culture.A highly exportable commodity: a global good with impact on global culture. A unique form of “grammar” (a new way of describing/viewing/representing the world and/or of telling stories)A unique form of “grammar” (a new way of describing/viewing/representing the world and/or of telling stories) A cultural product that comprises various genres and styles: fiction to non-fiction and forms in-betweenA cultural product that comprises various genres and styles: fiction to non-fiction and forms in-between

…It’s ONLY A Movie! A. Hitchcock

…but a movie is NEVER only a movie! They reflect the culture that makes them Movies are a cultural construct Culture reflects and is shaped by the movies it makes

"Film is more than the twentieth-century art. It's another part of the Twentieth-Century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The Twentieth century is on film....You have to ask yourself if there's anything about us more important than the fact that we're constantly on film constantly watching ourselves." --Don Delillo (The Names)

Every Film Is a Documentary” “ Every Film Is a Documentary” --Bill Nichols

Documentaries of Wish Fulfillment Documentaries of Social Representation

Documentaries of Wish Fulfillment Deal with imagined realitiesDeal with imagined realities Reflections and shapers of culture (fantasies, prejudices, hopes and fears)Reflections and shapers of culture (fantasies, prejudices, hopes and fears) Requires that the viewer suspend disbeliefRequires that the viewer suspend disbelief Ultimate Goal: to entertainUltimate Goal: to entertain Document the image in front of the cameraDocument the image in front of the camera Document the cultural beliefs, fantasies, fetishes of the timesDocument the cultural beliefs, fantasies, fetishes of the times

Documentaries of Social Representation Imaginative representation of historical or personal reality Lay claims to representing the “Truth” (unlike films of wish fulfillment) A “Discourse of Sobriety” (along with politics, history, economics) Make arguments/claims about the world outside of the theatre Use of evidence drawn from the “real” world Goal: to have the viewer believe in what is being represented; to act on those beliefs

But the Earliest Motion Pictures were neither… Actualities = movies of the real world (La Vie sur la Vif: Life being Lived) Short sketches and routines Trick films (the earliest special effects) “Cinema of Attractions”Newsreels and Travel Films: “Cinema of Attractions” (increasingly pitched to audience taste for the sensational, exotic & culturally alien)

Birth of the Movies 1880s – early 1900s: Correspond with Enormous Societal Changes: Political expansionism and colonialismPolitical expansionism and colonialism Industrial and technological revolutionsIndustrial and technological revolutions Demographic shifts – movement from rural to urbanDemographic shifts – movement from rural to urban Enormous increase in immigrationEnormous increase in immigration * : 12 million immigrants Growth of urban Middle ClassGrowth of urban Middle Class Increase in leisure timeIncrease in leisure time The movies reflect these cultural and societal changes…

Birth of the Movies 1880s – early 1900s: Correspond with Enormous Societal Changes New immigrants as movie characters…and targets Immigrants as audiences: The movies as a cultural port of entry

Cohen’s Advertising Scheme Edwin S. Porter (1904)

…the other “Others” The movies adopt and intensify ongoing fantasies, fears and stereotypes and cultural metaphors re race & ethnicity The movies make these fantasies a part of the mass culture/cultural consciousness in unprecendented ways

Based on Harriett Beacher Stowes wildly popular serialized novel (1852) – written in response to 1850 Fugitive Slave Act Porter’s 1903 version: One of earliest “full-length” films Filmed 38 years after the signing of the Emancipation Proclamation Borrows many of its cinematic conventions from earlier theatrical productions (“Tom Shows) Dozens of subsequent film versions Establishes many of stereotypes of African Americans that would persist over the next century: The “happy darky” The “tragic mulatto” as sex object The Mammy The pickanniny The Tom See also: Donald Bogle’s Toms, Coons, Mulattoes, Mammies & Bucks (Moffitt & Main Libraries PN N4 B6 2001) Uncle Tom’s Cabin Edwin S. Porter (1903) Edwin S. Porter

Uncle Tom’s Cabin Edwin S. Porter (1903)

Birth of a Nation D.W. Griffith (1915)

(Biograph, 1905)

Broken Blossoms (or, The Yellow Man and the Girl) D.W. Griffith (1915)

The Cheat Cecil B. DeMille (1915) Sessue Hayakawa

…Or: What’s a Nice Jewish Boy Like You Doing in a Face Like That!

The Mask of Fu Manchu (1932)

Gone with the Wind (1939)

Stepin Fetchit [Lincoln Theodore Monroe Andrew Perry] ( )

Animated Shorts: : Are We Amused Yet? Chinese Laundry Blues (1930?) Scrub Me Mama (1943)

World War II: The Expedients of Democrary Or Redefining & Refiguring “The Other” Know Your Enemy: Japan Frank Capra [for the US Army) (1945) The Negro Soldier Frank Capra [for the US Army) (1944)

The Heathen Chinese and the Sunday School Teacher (Biograph, 1904)