(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 21st 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 21st century. It is more than likely that a clear
post-racial society will emerge by the 22nd 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 22nd century, going into
the 23rd 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 20th
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 20th
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 20th 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 19th century to the end of the 20th
century. By the end of this 21st 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 21st
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 21st century of course but will reach its
ultimate conclusion in the 22nd 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.
