HUE UNIVERSITY

UNIVERSITY OF FOREIGN LANGUAGES

Department: International Studies

FINAL ESSAY
TOPIC: Some critics argue that the five stereotypes of
African Americans found in early cinema can still be found
in contemporary Hollywood films. To what extent do you
agree or disagree?

Subject : American Arts and Culture - Group 1

Student’s name : Nguyen Thi Tinh Nhu
Student’s ID : 18F7061039
Instructor : Mai Thi Dang Thu

Hue- June 1st, 2021.

 Table of contents:
A. INTRODUCTION.
B. BODY.
1. African- American films in the early.
2. The characteristics and roles of the African American
stereotypes.
i. The Uncle Toms.
ii. The Coons.
iii. The Tragic Mullato.
iv. The Mammies.
v. The Black Bucks.
3. The stereotypical images is still found in modern Hollywood
films.
Case studies:
i. The Help (2011) .
ii. Lee Daniels’ The Butler (2013).
C. CONCLUSION.

I. INTRODUCTION.

The United States cinema is often known as Hollywood which is the oldest
film industry in the world and also the largest film industry in terms of
revenue. It can be said that this entertainment industry has played a
significantly important role in shaping people's perception of the United
States. Throughout history, there has been plenty of backlashes, both
physically and culturally, in stereotypical images of African-American
actors. Those archetypes reflect deeply rooted prejudices about racism
and white capitalist ideology central to American society in the film
industry. Although there have been many attempts to pressure the
government to end discrimination in this industry, and many civil rights
revolt movements have directly changed the status of African Americans in
society, as well as on the screen. But those stereotypical characters are
still included by Hollywood movie producers today and have created
ambiguous prejudice or harmless pranks.

II. BODY.
1. African- American films in the early.

Hollywood has long exerted a strong influence on American ideology.

Black people may be scoring more substantial parts in film and television,
but many continue to play roles that fuel stereotypes. From the beginning,
Black films have been used to challenge the prejudice of race, rooted in
slavery, and used to justify racist ideologies and acts of discrimination. For
instance, a black enslaved person, forced under violence to work from
morning to sunset, could hardly be described as lazy. However, laziness,
as well as characteristics of submissiveness, backwardness, lewdness,
treachery, and dishonesty, historically became stereotypes assigned to
African Americans. Many Hollywood films have historically caricatured the
Black experience, tell great stories, and create laughs through the African-
American stereotypes. The early representations of African Americans as
in The WaterMelon Contest (1896), Sambo and Aunt Jemina (1897), and
The Gator and a Pickanninny (1903), relied on staid and pervasive
stereotypes common in pre-existing cultural artifacts (literature, music,
vaudeville, etc).

During the periods between the 1900 and 1970, many blacks were given
subordinate and subservient roles like servants, often of the lowest levels,
such as janitors, house helps, porters, cooks, gardeners, and cleaners
among others. Such roles could not be compared to the more powerful
whites, mainly depicted as their employers and bosses. However, black
characters often weren't played by black people. African American actors
were rare at the time. There were only a few African Americans that
actually appeared on stage and those who did only had minor roles such
as servants or shoe shiners. This was mainly because the world was used
to African Americans being slaves doing jobs such as these and people
weren't ready to accept African Americans as equals yet. In fact, the role
that depicts a black person is played by white actors after painting their
faces black. This tradition, commonly referred to as “black face”, and were
appeared in the popular theatrical and cinematic types- the minstrel show,
of the early twentieth century ( Picture 1). Although there have been many
studies that have suggested that Minstrelsy provided Americans with an
awareness of important aspects of African-American culture, it reflected the
social situation of the United States at the time that is racist. Minstrel
shows portrayed and lampooned blacks in stereotypical and often
disparaging ways, as ignorant, lazy, buffoonish, superstitious, joyous, and
musical.
 Picture 1: Billy Van, the monologue comedian, 1900. This image is available from the
United States Library of Congress Prints and Photographs division under the digital ID
var.1831

There are five prevalent stereotypes of African-Americans which were

identified in the 4th edition of Toms, Coons, Mulattoes, Mammies, and
Bucks: An Interpretive History of Blacks in American Films (2001) by film
historian Donald Bogle. He traces the history of these images from the
blatantly disparaging The Birth of a Nation in 1915 to the “Blaxploitation”
films that were a box office phenomenon around the time of the book’s
publication.

2. The characteristics and roles of the African American

stereotypes.

In the book, Bogle divides the portrayals of African-Americans on film into

the five stereotypes of the title that range from the overtly racist to the more
subtly demeaning. The main stereotypes as pointed out by Bogle included
the Uncle Toms, Coons, Tragic Mulattoes, Mammies and the last Black
Bucks.

i. The Uncle Toms.

The first black character in American movies was Uncle Tom from Edwin
Porter’s Uncle Tom’s Cabin (1903). He was played by a white actor in
blackface. The stereotype Uncle Tom was born with was submissive,
obedient, and yearned for the approval of his white employer. As pointed
out by Donald Bogle, although the violent treatment, the toms keep their
faith and do not turn “against their white massas” (Bogle, 2001). However,
he has good African characteristics such as the expression of kind-hearted
and benevolence. Because in order to ensure the freedom of other slaves,
he lost the opportunity to break free from bondage to the white master.
Uncle Tom's roles influenced perceptions of the relationship between black
slaves and white masters in American society.
 “After Tom’s debut, there appeared a variety of black presences. All were
character types used for the same effect: to entertain by stressing Negro
inferiority. None of the types were meant to do great harm, but at various
times individual ones did.”- Bogle (2001).

ii. The Coons.

The coon represented blacks as amusement objects and buffoons. They

were represented as the pure coon and two variants: the pickaninny and
the uncle remus. Coons in classic Hollywood is portrayed as a lazy guy.
His goal is to making style, often strutting, make fun to yourself to avoid
actual work or eating watermelon. He thinks he's a smart guy and makes
fun of other blacks. His use of cryptic English delighted the audience,
which further confirmed the stereotypes of the time that black people were
inherently less intelligent.

iii. The Tragic Mullato.

A female character of mixed blood (generally black and white). Some early
silent films explored the plight of the mulatto, usually fair-skinned, who is
trying to pass for white. As such, the "tragic mulatto" is depicted as the
victim of the society that is divided by race, where there is no place for one
who is neither completely "black" nor "white". “Usually the mulatto is made
likeable – even sympathetic (because of her white blood, no doubt) – and
the audience believes that the girl’s life could have been productive and
happy had she not been a victim of divided racial inheritance.” – Bogle
(2001)

iv. The Mammies.

Mammy, the fourth black type, is so closely related to the coons that she is
usually relegated to their ranks. Mammy is distinguished, however by her
sex and her fierce independence. She is usually big, fat, with an
argumentative and difficult nature, but despite her brashness, she knows
her place.
One of the most successful Mammy is the role of Mammy by Hattie
McDaniel in the movie Gone with the Wind (1939), with character
"Mammy" is the maid of a white family who punishes her master's
daughter, Scarlett O'Hara, and taunts Rhett Butler (played by Clark Gable).
Hattie played this role so well that she won an Oscar for her role as
Mammy in Gone With the Wind (1939). Although she was the first black
woman to be credited for her art, McDaniel has received a lot of
controversy from both the white and black communities. White people felt
that she (Mammy) was taking advantage of her master. Black people
though they felt it was a breakthrough, condemned her for choosing the
role of African women as slaves and maids.

v. The Black Bucks.

Birth of a Nation was a racist film that was well-received in 1915 by D.W.
Griffith. It included all the stereotypes named by Bogle and touched off
controversy. Some say that the movie defined the way that Hollywood
would represent blackness. It introduced the figures of the Black Buck
which was a barbaric black out to raise havoc. Audiences could assume
that his physical violence served as an outlet for sexual repression. The
Black Bucks are also big, oversexed and savage, violent and frenzied as
they “lust for white flesh,” a great sin to whites. The use and propaganda of
Black Bucks in this early film has certainly caused a wave of influence on
the way black culture is viewed over the decades.

3. The stereotypical images is still found in modern Hollywood films.

African-Americans have influenced society and created the law today

through the Civil Rights movements. For instance, the social change
brought about by the civil rights movement saw changes at the box office,
when the first group of African-American movie stars appeared in the
1950s. Prominent among them was Sidney Poitier (born 1927), the first
black superstar; Harry Belafonte (born 1927), the first African-American
male sex symbol; and Dorothy Dandridge (1922–1965), the first African-
American on-screen. African-American directors and others also have
worked tirelessly to counter these stereotypes with their own work.
Therefore, these prejudices have somewhat diminished compared to
earlier times. However, racism and stereotypes in the movie industry
always have a direct influence on society, and these values are inscribed in
the minds of many. The industry was originally run by white Americans that
always wanted to show white superiority over African Americans. Looking
at the roles traditionally assigned to black actors and actresses including
Uncle Toms, Coons, Mammys, one finds that African Americans are very
ignorant and unintelligent. Prejudice and racism are still high in the
mordern film industry.

Case Studies :

iii. The Help (2011)

The Help (2011), written and directed by Tate Taylor, was a very
successful film about the integrated lives of black maids and their white
employers. Although the film received great success including box office,
awards and other nominations, it was seen by critics as portraying negative
stereotypes about black women that are deeply rooted in history,
specifically the Mammy stereotype. At first glance, the film seems to
celebrate the hard work of financially struggling blacks to make a living, but
it does the opposite. Instead of featuring black domestic workers in the
rural south of the 1960s, specifically Jackson, Mississippi, the film further
creates negative stereotypes about black women. Aibileen Clark played by
Viola Davis, was the film’s main black protagonist; she played out the
Mammy stereotype: overweight, dark skin, and portrayed as very loyal to
her white family. Outside of her work as a maid, Aibileen did not have
much of her own life. The movie makes it as if her only focus in life was to
serve her white employer. Creators of the film were reinforcing the idea
that the black woman’s main purpose is to please the white woman. It also
sets black women inferior to whites.

In describing her job as a maid, Aibileen says in a voiceover, “I know how

to get them, babies, to sleep, stop crying and go in the toilet bowl. I do all
the cooking, cleaning, washing, ironing, and grocery shopping. But mostly,
I take care of Baby Girl…” (The help, 2011). Aibileen is portrayed as the
primary caretaker for Mae Mobley since Elizabeth often neglects her child
and is easily frustrated with her. In comparison to how Elizabeth treats her
child, Aibileen dotes on Mae Mobley and teaches her important life
lessons:

AIBILEEN: Baby. Baby. I need you to remember everything I told you, OK?

MAE MOBLEY: OK.

AIBILEEN: You remember what I told you?

MAE MOBLEY: You is kind, you is smart, you is important.

AIBILEEN: That’s right, Baby Girl .(Taylor, The help, 2011)

In this talking of Aibileen to the white little girl she takes care of, she says
“you is kind, you is smart, you is important”. It seems that she does not
have the ability to speak standard English and it is possible that the lack of
education may cause her to speak good English. That makes it possible for
the audience to visualize the basic stereotypes of African-Americans in
previous decades: silly talk, lack of education, ...

iv. Lee Daniels’ The Butler (2013)

"The Butler" is based on the true story of a black man who served as a
butler in the White House through several presidential administrations
including during the civil rights era. The movie chronicles the life of Cecil
Gaines (played by Forest Whitaker), a highly capable and beloved White
House Butler.
Cecil always seems to know what to say to the white people he serves, by
saying what they want to hear and giving them what they need, as
Maynard taught him. Cecil says in a voiceover while driving home from
working at The Excelsior , “Never in my life did I dream I’d work in a place
as fancy as this. I never dreamed my life could be so good.” Cecil clearly
enjoys serving and even tells his son, Charlie, how it “beats working for a
living.” However, later in the film Cecil gets into an argument with his other
son, Louis. Louis has made fun of Sidney Poitier, who he says is “nothing
but a rich Uncle Tom” and deeply offends Cecil.

III. CONCLUSION.

Racism and prejudice still exist in a free society today. Although there may
be many different causes, white primacy contributes greatly to
discrimination in the film industry of the United States. The disrespect that
whites have towards African-Americans is not small, and that is why
descriptions of them are such cruel characters that whites have the upper
hand overhead and shoulders to African-Americans. Given the fact that
there are many negative impacts associated with the outcome of this
situation, it is important for stakeholders and leaders in the film world such
as actors, directors, and others in the media to find uncover the root cause
of the problem so that lasting solutions can be found, so equality for both
sides of the race can be shown on film and not depicted as culturally or
socially discriminatory one's legacy.

REFERENCES:

1. Aleichia Williams, Norberrto, 2021. A History Of Black Representation in

Film. Available online.
2. Beane, A., Hatch, J., & McNamara, B. (1996). Inside the minstrel mask:
Readings in nineteenth century blackface minstrelsy. Hanover, NH:
Wesleyan University Press.
3. Bogle, Donald. Toms, Coons, Mammies, Mulattoes, and Bucks: An
Interpretive History of Blacks in American Films, 4th edition. New York:
Continuum International Publishing Group, 2001.
4. Evi Taylor, Patricia Guy-Walls, Patricia Wilkerson & Rejoice Addae.
Journal of Human Rights and Social Work volume 4.
5. Garrett, Melissa Ann. Contemporary portrayals of blacks and mixed-
blacks in lead roles: Confronting historical stereotypes of African
Americans on the big screen (2017). Graduate Theses and
Dissertations. 15307.
6. Hardiman, Dominique M. An Interactive Study Guide to Toms, Coons,
Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in
American Film By Donald Bogle (2011).
7. Nittle, Nadra Kareem. 5 Common Black Stereotypes in TV and Film.
ThoughtCo, Mar. 10, 2021, thoughtco.com/common-black-stereotypes-
in-tv-film-2834653.
8. Frank Burnside, 2020. A History Of Black Film. Release on UNEWS
Est.1993.
9. StudyCorgi. (2020, September 7). Portrayal of African Americans in the
Movies. Retrieved from https://studycorgi.com/portrayal-of-african-
americans-in-the-movies/
10. The Help film, 2011. Distributed by Walt Disney Studios Motion
Pictures.

11.UKEssays. (November 2018). African American Film Stereotypes.

Retrieved from
https://www.ukessays.com/essays/film-studies/reviewing-the-
stereotyped-african-american-actors-film-studies-essay.php?vref=1

12.UKEssays. (November 2018). Evolution Of African American Movies

Film Studies Essay. Retrieved from
https://www.ukessays.com/essays/film-studies/evolution-of-african-
american-movies-film-studies-essay.php?vref=1
13.Van Deburg, William L. (1984). Slavery and Race in American Popular
Culture. Madison: University of Wisconsin Press. p. 149. ISBN 978-0-
299-09630-4.