Film in a Post-Racial world

(Image courtesy of quotes.lifehack.org)

We are yet to exist in a post-racial society. This blogpost is about my expectations of how I expect films to be presented in a post-racial society but first let me describe briefly what a post-racial society might look like.

 There are still several societies throughout the world where culture is influenced by the presence of a homogenous racial group. Culture as influenced by race is based on a sense of racial familiarity amongst individuals of a particular social group. This culture is always challenged by the introduction of a different racial group that establishes a presence in the area(s) occupied by a homogenous racial group. The homogenous racial group that previously occupied the area would have been long established prior to the arrival of other racial groups. In another case the homogenous racial group would have been the dominant social group in the society and the introduction of other racial groups into its sphere of influence is seen in some cases as a challenge to its power. In another case there is the homogenous racial group that came to power by dominating other racial groups. On the basis of this domination when a homogenous racial group conquers and then dominates other racial groups then it is likely to consider itself superior to the conquered race(s). The dominant homogenous racial group therefore transfers its values and mode of operations to the subjected races in a bid to make them more amenable or submissive. This transference makes the subjected races more accepting of their inferior position. If the dominant racial group tries to keep subject races in line by transferring its values it is because they have decided not to exterminate the subject races through violent means and thus preserve their homogenous racial composition. Violence is the more radical way of securing  the dominance of a particular homogenous racial group. If the dominant racial group does not resort to exterminating the subject races it either isolates them from the seat of power and the structures that maintain its political and economic dominance or it resorts to uplifting the subject races to the standards of the dominant racial group as a benevolent measure. If the subject races do not comply then the members of the dominant racial group resort to violence to maintain their sense of superiority. The history of the world shows that the dominant racial group for the past 150 years or so has been the white ethnic group. Their political and economic institutions hold a great sway over other societies that do not have white majorities. Most of the world’s wealth for the past 150 years has been concentrated in countries with a white majority. There have been some exceptions in Asia particularly Japan and China with India coming along nicely but until then the majority of wealth continues to be concentrated in countries with a white majority population. This is made clear with the combined wealth of the US, Britain, the Eurozone, Russia, Australia, Canada and New Zealand. When I say wealth I am referring to the major holders of capital, particularly money capital. A majority of the major companies in the world originated in the white dominated countries although Chinese state run companies are also very valuable in comparison to these largely private run corporate firms in the white dominated countries. 

In the 21^st century there seems to be the beginning of the painful transition to a post-racial world order. This is because the struggles for liberation of once subject peoples are bearing fruit with more being able to assume positions within the power structure normally dominated by the dominant white ethnic group. Barack Obama’s victory in the presidential elections of 2008 & 2012 was cause for celebration for a lot of black people particularly as this racial group has long been subjected to white domination, especially from the brutal days of slavery. It is also why the election of Donald Trump is considered so repugnant in the eyes of several black people and other ethnic minorities since it implies that the dominant white racial group will try to assert its power in some form.   The rise of dominant economies such as Japan,  China, India, South Korea, Singapore,  Malaysia and Indonesia has also eroded the domination of  countries with a white majority population. It means that no longer will the majority of  the world’s wealth be concentrated in a few countries. This process of the more equitable distribution of the world’s wealth is likely to continue for the rest of the 21^st century. It is more than likely that a clear post-racial society will emerge by the 22^nd century. Post-Racial in this sense suggests that power will no longer be determined on the basis of identification with a particular homogenous racial group. Class exploitation will still exist if capitalism is still around but the racial basis for exploitation will be increasingly eroded. It has been made clear that some members of racial groups that were once subjected by the dominant white power structure have demonstrated that when given the opportunity they are the equal, or superior, of any white man or woman. It will therefore be increasingly irrational for the white power structure to continue excluding racial groups on the basis that they are not white and therefore automatically inferior. It is not just the white power structure that will have to adjust but those in the major economies of Asia. They will also be more willing to embrace others not in line with their cultural characteristics. The acceptance of other cultures will become crucial in the post-racial societies. When the world market becomes fully developed then probably by the late 22^nd century, going into the 23^rd century, travel restrictions will be lifted for a majority of countries.  People will be issued with a world passport instead of the more parochial national passport which in some cases requires a visa for travel to particular countries. This will be based on the increased integration of the various countries throughout the world on the basis of capitalist production values and will also be determined by an understanding of the various cultural characteristics of various nations that make people distinctive. The racial aspect will also be an important part in the understanding of such cultures.

Now I turn to how I expect films or movies to be presented in a post-racial society.  A lot of films or movies still clearly reflect a particular ideological and cultural bias in their presentation. The ideological and cultural bias that began from the days of Birth of a Nation puts white protagonists at the centre of most films. Films were diluted over time and more blacks, Hispanics (with Hispanics I refer to the mestizo class which largely represent this racial group) and Native American Indians were given more screen time. In a majority of these cases  however these racial groups were cast in primarily supporting roles to the white protagonist. Throughout the 20^th century there were films where the cast would be all black such as A Raisin in the Sun for instance. These all black films were not necessarily inferior productions. The rise of directors like Spike Lee and John Singleton got the best out of such films towards the end of the 20^th century. Boyz ‘N the Hood directed by Singleton and Do the Right Thing directed by Spike Lee are masterpieces. Malcolm X by Spike Lee is also a powerful film. There were other very good black films that emerged towards the end of the 20^th century. In the more mainstream films however the blacks, Hispanics and Native Americans continue to play a more supporting role to the white protagonists. Dances with Wolves is a clear example of an enlightened white protagonist who befriends members of the Sioux tribe and learns their ways. The film never places the Native Americans at the centre of the film and they remain peripheral to or primarily supportive of the white male protagonist. It was a step forward with the presentation of the Sioux language in this film although the white protagonist remains firmly in control. When it came to awards season the primary awards on offer for other ethnic minorities were in supporting roles. Sydney Poitier won the academy award for an actor in a leading role in 1964 and remained the exception until Denzel Washington won the award in 2001 (awarded 2002) followed by Jamie Foxx in 2004 (awarded 2005) and Forest Whitaker. There were other nominations for black actors in leading roles, both actors and actresses, but the chances of them winning were never favourable. In most cases ethnic minorities were more likely to win in the supporting category since Louis Gossett Jr in 1982. Most of the best and popular films had primarily white protagonists. There is some progress in knowing that some of the stereotypes of particular ethnic groups have disappeared. Gone with the Wind popularized the stereotypical roles for black people, particularly their roles as servants to the white protagonists and the Westerns classed Native Americans as outsiders that threatened the white status quo until Dances with Wolves and now The Revenant. West Side Story is also a significant film that addressed the hostile relations between American whites and Puerto Ricans although the Puerto Ricans were white, especially Maria. In West Side Story the Puerto Ricans were clearly presented as a distinct cultural group and with a certain racial tinge (everyone was a brunette) as a result in order to highlight how they differed from the traditional look of white in American society.

There have been films that deal frontally with the clash of various races and how the white power structure is increasingly threatened by the encroachment on their territory by other ethnic minorities. Two major films that come to mind are Do the Right Thing and Crash. Both films are not necessarily post-racial but instead highlight racial differences and biases on the part of the whites who try to integrate with the other ethnic minorities. They also focus on how the ethnic minorities try to integrate into white society particularly as they exist on the fringes. The white power structure is clearly evident in these films and the characters that represent the ethnic minorities have to come to terms with this power structure in peaceable or violent and tragic ways.  These films are not post-racial but they come to terms with the white power structure and the place of ethnic minorities who exist on the fringes or in a general subservient position.  In a post-racial society these films will be looked upon fondly as a historical reminder of how far world society has matured. It is these constant clashes among racial groups that can lead to a certain level of understanding or a complete breakdown in relations. Eventually however the white power structure will crumble not just in the United States but throughout the world. The countries with a white majority will no longer control most of the world’s wealth as they did  since the 19^th century to the end of the 20^th century. By the end of this 21^st century there will certainly be a diffusion of wealth and a significant rise in per capita incomes amongst various nation states throughout the world. It remains to be seen if the white power structure will try and reassert its sovereignty through violent means or accept in more humble terms their diminished status in world affairs. Donald Trump’s call to make America great again is definitely a call for the whites to reassert themselves as a dominant homogenous racial group.

Films where white protagonists play the leading roles is limited primarily to the USA and Europe although the films from these two areas generate the most money worldwide.  There are other areas of the world where the protagonists represents their own cultural milieu. Japanese and Chinese films come to mind. Akira Kurosawa’s films from Japan, for instance, are largely influential in the world of cinema and Chinese martial arts and action films have featured famous stars such as Bruce lee, Jet Li, Jackie Chan and Chow Yun Fat who successfully crossed over to foreign soil. Crouching Tiger, Hidden Dragon is one of the more famous quality offerings coming out of China or based on the lives of Chinese people.  On some street sides in Jamaica people can be found watching a Chinese martial arts film. The Chinese market for movies is increasing considerably and so this makes it an important destination for some American films. There are also the famous Bollywood films in India. Slumdog Millionaire (2008) is just the beginning. It’s not a Bollywood film but it does incorporate certain elements that would be identifiable to Indian movie goers.  There are also very good films about people in the Middle East and Africa. Latin America is also doing well with some very famous directors emerging to challenge the Americans although their films largely portray the trials of white protagonists. Cidade De Deus, or City of God, is one of the most famous films to come out of Brazil that feature Brazil’s racial melting pot. The Caribbean has produced films over the years as well.  This is just the beginning however and it will take some more time before it expands considerably to make films a part of the post-racial world. In some cases American films with their white protagonists do a lot of globetrotting. We see this with the Fast and the Furious franchise and superhero films. They are still led by white American protagonists.

Now to my vision of what the post-racial film industry will be like. First off I expect that the domination of films by white protagonists will lessen considerably particularly by the end of the 21^st century. If the Academy Awards wants to remain relevant then the best films of the year will not include primarily films on American white people but films released all over the world. If not the Academy Awards will be increasingly considered a parochial American awards ceremony.  The foreign language category will also have to be abolished. This would also mean that more quality films will be made about people outside of America and Western Europe and this will mean that a lot of these films will not require a famous white protagonist to carry the film to be assured of some following. For this diffusion of the white power structure in the film industry to take place then there will have to be some transference of resources. Some of the better directors will have to take on subjects outside of the American domain. The development of filmmakers throughout the world will also be encouraged and this encouragement can only take the form of serious investment. When the investment takes place then more people will be encouraged to become professional filmmakers. More people will take the time to go to acting school. Someone from Syria, Kenya or Jamaica can aspire to be a great actor like Robert De Niro or Tom Hanks or Denzel Washington etc.  Great directors will no longer come only from America or Europe and to a lesser extent China, Japan or India but more people from developing countries will be able to deliver quality made films and become like a Scorsese or Spielberg while making films about their own country and with their own top actors.  There has been some diffusion as I said before but more countries will be able to participate. A film industry can only thrive where capital is abundant. Film is a very capital intensive commodity and so its production requires considerable investment. The major film studios can also begin the process by funding these projects in other countries where capital is not available sufficiently to encourage a film industry to thrive.  The training of quality personnel is also a significant part of this investment. A good script can come from anywhere. It will take some time but filmmakers throughout the world and not just the select few in America, Europe and Asia should have their place in the sun.  There are so many stories to be told and film is such an effective American export that a lot of people are well acquainted with American culture by now.  Films in other languages, apart from English which is primarily an extension of white culture, will also be encouraged to flourish. There will come a time with the increase in per capita incomes in countries throughout the world that the US market will no longer be the dominant one. It will still be important if local companies want to export their product but the domestic market should be sufficient because more local customers will be accepting of local made films especially when the quality improves. A lot of local made films now are considered inferior to the foreign US product and for good reason in some cases. A lot of films, even in Europe, have to be remade according to American standards to be considered suitable or acceptable.

There will also be a reimagining of some films even in America as the white power structure fades. Let me give a popular example by referring to the superhero genre since the Western genre is not as dominant in the market anymore. The best superheroes are white in conception. This means it lessens the probability that a black or hispanic will become a major superhero.  The creation of the major superheroes is not based on random selection. Black Panther is black because he is from Africa. It’s as simple as that. Most black superheroes, as in the movies, play a supporting role to the dominant white male superhero. We see that with War machine, who is Iron Man’s sidekick, and Falcon, who is Captain America’s sidekick. Superman, who is considered to be the greatest superhero of them all, descends from a noble white lineage in krypton. What are the odds that most kryptonians are white? Not a single coloured face and they speak English. And then superman coincidentally lands in the American heartland and is somehow able to blend in because of his white racial features. Now just imagine if superheroes are randomly selected regardless of race. The Supermen and Captain Americas who embrace the traditional white ideal will be no more. So, for instance, the story of superman in a post-racial society will be more complicated. Superman will actually look like an alien instead of a descendant of an advanced alien white race. His skin might be blue or yellow or orange or green to reflect the actual kryptonian environment. So I’m not saying that in a post-racial society Superman should be black or Hispanic or Chinese. I’m saying that he should actually look the part of an alien. It would be much more difficult for him to blend in and make his ascension as a superman even more difficult. A hero like Captain America will become dated as he represents primarily a white American ideal. New superheroes should be able to emerge from other nations apart from America. The advancement of the world society shows, or will show, that greatness can come from anywhere. Black Panther is one of the very few exceptions. A superhero or villain should not be limited to white American shores.  This continues to paint a picture of whites as the dominant homogenous race, not only in America but throughout the world. Green Lantern being black was a very good step in the comics. Not just because he’s black but because his look and character actually fits the profile of the character. Someone should be chosen because their look and character actually fits the profile of the person who the creators want to portray. A lot of creators are now already limited because they are seeking to portray the ideal white character for the role unless it’s a black story about black people. This will all change in a post racial society.

Well here I end my brief discussion of film in a post racial society. Film in a post racial society will have a lot to do with how much the white dominated film industry is diffused in the next couple of centuries. The process will start in the 21^st century of course but will reach its ultimate conclusion in the 22^nd century. The process has already begun but it will take a couple more years for the exception to become the rule. Film, like other works of art, plays a crucial role in providing insight into a particular culture and so the time will come when more stories are told from the point of view of indigenous cultures in particular areas throughout the world and limiting the overwhelming impact of the majority of films that reflect a primarily white American ideal.