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Writing Guide with Handbook

7.4 Annotated Student Sample: "Black Representation in Film" by Caelia Marshall

Writing Guide with Handbook7.4 Annotated Student Sample: "Black Representation in Film" by Caelia Marshall

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Table of contents
  1. Preface
  2. The Things We Carry: Experience, Culture, and Language
    1. 1 Unit Introduction
    2. 1 The Digital World: Building on What You Already Know to Respond Critically
      1. Introduction
      2. 1.1 "Reading" to Understand and Respond
      3. 1.2 Social Media Trailblazer: Selena Gomez
      4. 1.3 Glance at Critical Response: Rhetoric and Critical Thinking
      5. 1.4 Annotated Student Sample: Social Media Post and Responses on Voter Suppression
      6. 1.5 Writing Process: Thinking Critically About a “Text”
      7. 1.6 Evaluation: Intention vs. Execution
      8. 1.7 Spotlight on … Academia
      9. 1.8 Portfolio: Tracing Writing Development
      10. Further Reading
      11. Works Cited
    3. 2 Language, Identity, and Culture: Exploring, Employing, Embracing
      1. Introduction
      2. 2.1 Seeds of Self
      3. 2.2 Identity Trailblazer: Cathy Park Hong
      4. 2.3 Glance at the Issues: Oppression and Reclamation
      5. 2.4 Annotated Sample Reading from The Souls of Black Folk by W. E. B. Du Bois
      6. 2.5 Writing Process: Thinking Critically about How Identity Is Constructed Through Writing
      7. 2.6 Evaluation: Antiracism and Inclusivity
      8. 2.7 Spotlight on … Variations of English
      9. 2.8 Portfolio: Decolonizing Self
      10. Further Reading
      11. Works Cited
    4. 3 Literacy Narrative: Building Bridges, Bridging Gaps
      1. Introduction
      2. 3.1 Identity and Expression
      3. 3.2 Literacy Narrative Trailblazer: Tara Westover
      4. 3.3 Glance at Genre: The Literacy Narrative
      5. 3.4 Annotated Sample Reading: from Narrative of the Life of Frederick Douglass by Frederick Douglass
      6. 3.5 Writing Process: Tracing the Beginnings of Literacy
      7. 3.6 Editing Focus: Sentence Structure
      8. 3.7 Evaluation: Self-Evaluating
      9. 3.8 Spotlight on … The Digital Archive of Literacy Narratives (DALN)
      10. 3.9 Portfolio: A Literacy Artifact
      11. Further Reading
      12. Works Cited
      13. Works Consulted
  3. Bridging the Divide Between Personal Identity and Academia
    1. 2 Unit Introduction
    2. 4 Memoir or Personal Narrative: Learning Lessons from the Personal
      1. Introduction
      2. 4.1 Exploring the Past to Understand the Present
      3. 4.2 Memoir Trailblazer: Ta-Nehisi Coates
      4. 4.3 Glance at Genre: Conflict, Detail, and Revelation
      5. 4.4 Annotated Sample Reading: from Life on the Mississippi by Mark Twain
      6. 4.5 Writing Process: Making the Personal Public
      7. 4.6 Editing Focus: More on Characterization and Point of View
      8. 4.7 Evaluation: Structure and Organization
      9. 4.8 Spotlight on … Multilingual Writers
      10. 4.9 Portfolio: Filtered Memories
      11. Further Reading
      12. Works Cited
    3. 5 Profile: Telling a Rich and Compelling Story
      1. Introduction
      2. 5.1 Profiles as Inspiration
      3. 5.2 Profile Trailblazer: Veronica Chambers
      4. 5.3 Glance at Genre: Subject, Angle, Background, and Description
      5. 5.4 Annotated Sample Reading: “Remembering John Lewis” by Carla D. Hayden
      6. 5.5 Writing Process: Focusing on the Angle of Your Subject
      7. 5.6 Editing Focus: Verb Tense Consistency
      8. 5.7 Evaluation: Text as Personal Introduction
      9. 5.8 Spotlight on … Profiling a Cultural Artifact
      10. 5.9 Portfolio: Subject as a Reflection of Self
      11. Works Cited
    4. 6 Proposal: Writing About Problems and Solutions
      1. Introduction
      2. 6.1 Proposing Change: Thinking Critically About Problems and Solutions
      3. 6.2 Proposal Trailblazer: Atul Gawande
      4. 6.3 Glance at Genre: Features of Proposals
      5. 6.4 Annotated Student Sample: “Slowing Climate Change” by Shawn Krukowski
      6. 6.5 Writing Process: Creating a Proposal
      7. 6.6 Editing Focus: Subject-Verb Agreement
      8. 6.7 Evaluation: Conventions, Clarity, and Coherence
      9. 6.8 Spotlight on … Technical Writing as a Career
      10. 6.9 Portfolio: Reflecting on Problems and Solutions
      11. Further Reading
      12. Works Cited
    5. 7 Evaluation or Review: Would You Recommend It?
      1. Introduction
      2. 7.1 Thumbs Up or Down?
      3. 7.2 Review Trailblazer: Michiko Kakutani
      4. 7.3 Glance at Genre: Criteria, Evidence, Evaluation
      5. 7.4 Annotated Student Sample: "Black Representation in Film" by Caelia Marshall
      6. 7.5 Writing Process: Thinking Critically About Entertainment
      7. 7.6 Editing Focus: Quotations
      8. 7.7 Evaluation: Effect on Audience
      9. 7.8 Spotlight on … Language and Culture
      10. 7.9 Portfolio: What the Arts Say About You
      11. Further Reading
      12. Works Cited
    6. 8 Analytical Report: Writing from Facts
      1. Introduction
      2. 8.1 Information and Critical Thinking
      3. 8.2 Analytical Report Trailblazer: Barbara Ehrenreich
      4. 8.3 Glance at Genre: Informal and Formal Analytical Reports
      5. 8.4 Annotated Student Sample: "U.S. Response to COVID-19" by Trevor Garcia
      6. 8.5 Writing Process: Creating an Analytical Report
      7. 8.6 Editing Focus: Commas with Nonessential and Essential Information
      8. 8.7 Evaluation: Reviewing the Final Draft
      9. 8.8 Spotlight on … Discipline-Specific and Technical Language
      10. 8.9 Portfolio: Evidence and Objectivity
      11. Further Reading
      12. Works Cited
    7. 9 Rhetorical Analysis: Interpreting the Art of Rhetoric
      1. Introduction
      2. 9.1 Breaking the Whole into Its Parts
      3. 9.2 Rhetorical Analysis Trailblazer: Jamil Smith
      4. 9.3 Glance at Genre: Rhetorical Strategies
      5. 9.4 Annotated Student Sample: “Rhetorical Analysis: Evicted by Matthew Desmond” by Eliana Evans
      6. 9.5 Writing Process: Thinking Critically about Rhetoric
      7. 9.6 Editing Focus: Mixed Sentence Constructions
      8. 9.7 Evaluation: Rhetorical Analysis
      9. 9.8 Spotlight on … Business and Law
      10. 9.9 Portfolio: How Thinking Critically about Rhetoric Affects Intellectual Growth
      11. Further Reading
      12. Works Cited
    8. 10 Position Argument: Practicing the Art of Rhetoric
      1. Introduction
      2. 10.1 Making a Case: Defining a Position Argument
      3. 10.2 Position Argument Trailblazer: Charles Blow
      4. 10.3 Glance at Genre: Thesis, Reasoning, and Evidence
      5. 10.4 Annotated Sample Reading: "Remarks at the University of Michigan" by Lyndon B. Johnson
      6. 10.5 Writing Process: Creating a Position Argument
      7. 10.6 Editing Focus: Paragraphs and Transitions
      8. 10.7 Evaluation: Varied Appeals
      9. 10.8 Spotlight on … Citation
      10. 10.9 Portfolio: Growth in the Development of Argument
      11. Further Reading
      12. Works Cited
    9. 11 Reasoning Strategies: Improving Critical Thinking
      1. Introduction
      2. 11.1 Developing Your Sense of Logic
      3. 11.2 Reasoning Trailblazer: Paul D. N. Hebert
      4. 11.3 Glance at Genre: Reasoning Strategies and Signal Words
      5. 11.4 Annotated Sample Reading: from Book VII of The Republic by Plato
      6. 11.5 Writing Process: Reasoning Supported by Evidence
      7. Further Reading
      8. Works Cited
    10. 12 Argumentative Research: Enhancing the Art of Rhetoric with Evidence
      1. Introduction
      2. 12.1 Introducing Research and Research Evidence
      3. 12.2 Argumentative Research Trailblazer: Samin Nosrat
      4. 12.3 Glance at Genre: Introducing Research as Evidence
      5. 12.4 Annotated Student Sample: "Healthy Diets from Sustainable Sources Can Save the Earth" by Lily Tran
      6. 12.5 Writing Process: Integrating Research
      7. 12.6 Editing Focus: Integrating Sources and Quotations
      8. 12.7 Evaluation: Effectiveness of Research Paper
      9. 12.8 Spotlight on … Bias in Language and Research
      10. 12.9 Portfolio: Why Facts Matter in Research Argumentation
      11. Further Reading
      12. Works Cited
    11. 13 Research Process: Accessing and Recording Information
      1. Introduction
      2. 13.1 The Research Process: Where to Look for Existing Sources
      3. 13.2 The Research Process: How to Create Sources
      4. 13.3 Glance at the Research Process: Key Skills
      5. 13.4 Annotated Student Sample: Research Log
      6. 13.5 Research Process: Making Notes, Synthesizing Information, and Keeping a Research Log
      7. 13.6 Spotlight on … Ethical Research
      8. Further Reading
      9. Works Cited
    12. 14 Annotated Bibliography: Gathering, Evaluating, and Documenting Sources
      1. Introduction
      2. 14.1 Compiling Sources for an Annotated Bibliography
      3. 14.2 Glance at Form: Citation Style, Purpose, and Formatting
      4. 14.3 Annotated Student Sample: “Healthy Diets from Sustainable Sources Can Save the Earth” by Lily Tran
      5. 14.4 Writing Process: Informing and Analyzing
      6. Further Reading
      7. Works Cited
    13. 15 Case Study Profile: What One Person Says About All
      1. Introduction
      2. 15.1 Tracing a Broad Issue in the Individual
      3. 15.2 Case Study Trailblazer: Vilayanur S. Ramachandran
      4. 15.3 Glance at Genre: Observation, Description, and Analysis
      5. 15.4 Annotated Sample Reading: Case Study on Louis Victor "Tan" Leborgne
      6. 15.5 Writing Process: Thinking Critically About How People and Language Interact
      7. 15.6 Editing Focus: Words Often Confused
      8. 15.7 Evaluation: Presentation and Analysis of Case Study
      9. 15.8 Spotlight on … Applied Linguistics
      10. 15.9 Portfolio: Your Own Uses of Language
      11. Further Reading
      12. Works Cited
  4. Navigating Rhetoric in Real Life
    1. 3 Unit Introduction
    2. 16 Print or Textual Analysis: What You Read
      1. Introduction
      2. 16.1 An Author’s Choices: What Text Says and How It Says It
      3. 16.2 Textual Analysis Trailblazer: bell hooks
      4. 16.3 Glance at Genre: Print or Textual Analysis
      5. 16.4 Annotated Student Sample: "Artists at Work" by Gwyn Garrison
      6. 16.5 Writing Process: Thinking Critically About Text
      7. 16.6 Editing Focus: Literary Works Live in the Present
      8. 16.7 Evaluation: Self-Directed Assessment
      9. 16.8 Spotlight on … Humanities
      10. 16.9 Portfolio: The Academic and the Personal
      11. Further Reading
      12. Works Cited
    3. 17 Image Analysis: What You See
      1. Introduction
      2. 17.1 “Reading” Images
      3. 17.2 Image Trailblazer: Sara Ludy
      4. 17.3 Glance at Genre: Relationship Between Image and Rhetoric
      5. 17.4 Annotated Student Sample: “Hints of the Homoerotic” by Leo Davis
      6. 17.5 Writing Process: Thinking Critically and Writing Persuasively About Images
      7. 17.6 Editing Focus: Descriptive Diction
      8. 17.7 Evaluation: Relationship Between Analysis and Image
      9. 17.8 Spotlight on … Video and Film
      10. 17.9 Portfolio: Interplay Between Text and Image
      11. Further Reading
      12. Works Cited
    4. 18 Multimodal and Online Writing: Creative Interaction between Text and Image
      1. Introduction
      2. 18.1 Mixing Genres and Modes
      3. 18.2 Multimodal Trailblazer: Torika Bolatagici
      4. 18.3 Glance at Genre: Genre, Audience, Purpose, Organization
      5. 18.4 Annotated Sample Reading: “Celebrating a Win-Win” by Alexandra Dapolito Dunn
      6. 18.5 Writing Process: Create a Multimodal Advocacy Project
      7. 18.6 Evaluation: Transitions
      8. 18.7 Spotlight on . . . Technology
      9. 18.8 Portfolio: Multimodalism
      10. Further Reading
      11. Works Cited
    5. 19 Scripting for the Public Forum: Writing to Speak
      1. Introduction
      2. 19.1 Writing, Speaking, and Activism
      3. 19.2 Podcast Trailblazer: Alice Wong
      4. 19.3 Glance at Genre: Language Performance and Visuals
      5. 19.4 Annotated Student Sample: “Are New DOT Regulations Discriminatory?” by Zain A. Kumar
      6. 19.5 Writing Process: Writing to Speak
      7. 19.6 Evaluation: Bridging Writing and Speaking
      8. 19.7 Spotlight on … Delivery/Public Speaking
      9. 19.8 Portfolio: Everyday Rhetoric, Rhetoric Every Day
      10. Further Reading
      11. Works Cited
    6. 20 Portfolio Reflection: Your Growth as a Writer
      1. Introduction
      2. 20.1 Thinking Critically about Your Semester
      3. 20.2 Reflection Trailblazer: Sandra Cisneros
      4. 20.3 Glance at Genre: Purpose and Structure
      5. 20.4 Annotated Sample Reading: “Don’t Expect Congrats” by Dale Trumbore
      6. 20.5 Writing Process: Looking Back, Looking Forward
      7. 20.6 Editing Focus: Pronouns
      8. 20.7 Evaluation: Evaluating Self-Reflection
      9. 20.8 Spotlight on … Pronouns in Context
      10. Further Reading
      11. Works Cited
  5. Handbook
  6. Index

Learning Outcomes

By the end of this section, you will be able to:

  • Recognize key terms and features of review writing.
  • Explain how conventions of the review genre are shaped by purpose, language, culture, and expectation.
  • Analyze relationships between ideas and patterns of organization in written texts.

Introduction

In her essay “The Black Experience: What We See and Hear in Film,” Caelia Marshall reviews Rear Window (1954), Number 37 (2018), and Black Panther (2018), looking at them through the context of representation of Black people in film. She uses some traditional film-review criteria but focuses primarily on the films’ social and historical contexts. Marshall presents her judgment and provides specific evidence from primary and secondary sources.

Living by Their Own Words

What We See and What We Hear

student sample text The global film industry, worth nearly $50 billion dollars (Watson), is a powerhouse of social influence, affecting people’s perceptions, ideologies, values, and language on both conscious and subconscious levels. Phrases such as “Winter is coming” infiltrate the modern lexicon in areas of public life ranging from advertising to politics. Problematically, however, highly popular and influential shows like the HBO series Game of Thrones lack diversity, unapologetically perpetuating the dominant White cultural narrative. For the most part, audiences catapult shows that portray such skewed narratives to popularity, failing to notice or care about the lack of diversity. Through both production and consumption, the lack of diversity that exists in the entertainment industry works as an arm of oppression, complicit in keeping Black characters and Black stories hidden from view. This lack of representation of Black people and culture in film and television is more dangerous than the stereotypical racist representations of mammies, servants, and criminals in the past because it allows audiences to dismiss Black experiences entirely, making these audience members less empathetic to diverse points of view.end student sample text

annotated textPurpose. Marshall achieves two important objectives for the opening paragraph of her essay: getting her audience’s attention and presenting her thesis. Marshall begins with an important statistic (the film industry is worth nearly $50 billion globally) and uses a specific example of a popular expression from a television show with which the audience is likely familiar (“Winter is coming” from the HBO series Game of Thrones) to illustrate the power and widespread influence of film and TV on American culture.end annotated text

annotated textThesis. Marshall then points out the lack of diversity in Game of Thrones and in film and TV more generally that leads to her thesis: This lack of diversity is harmful to society (“This lack of representation of Black people and culture . . . diverse points of view.”).end annotated text

student sample textLike many movies of the early and mid-20th century, director Alfred Hitchcock’s film Rear Window (1954) lacks authentic Black characters.end student sample text

annotated textCriteria. Marshall elaborates on her evaluation criteria: the lack of authentic Black characters.end annotated text

student sample textIn Rear Window, the Black experience is evident only when the presumably White female babysitter character talks for a few brief seconds to the police chief, whose children she watches, from an off-screen position using slurred, stereotypical southern Black dialect, with incorrect grammar. Dr. James Ivy calls this interjection the “audio version of blackface.”end student sample text

student sample textBlackface is an American theatrical minstrel practice that dates to the mid to late 1800s, in which White traveling musicians painted their faces black and for comic effect mimicked the singing and dancing of slaves.end student sample text

annotated textDefinition of Terms. Marshall clarifies the terms she uses; “audio version of blackface” is taken from a secondary source, whereas “mammy” reflects Marshall’s own interpretation.end annotated text

student sample textIn this scene, the babysitter responds to her White male employer in the voice of the stereotypical mammy—a Black nursemaid who took care of White children, particularly in the south. Hitchcock appears to offer the scene as comic relief, expecting audiences to laugh during a tense confrontation between protagonist L. B. Jefferies and the police chief. The fact that Hitchcock calls upon this stereotypical minstrel tradition to create a moment of comedy illustrates the inherent racism of a script that uses the Black experience as a punch line rather than attempts to reflect the Black experience as it is. Somehow, Hitchcock manages both to exclude Black people from his film and to make use of Black stereotypes. However, as insidious as Hitchcock’s choice to call upon this stereotype for comic effect may be, it is not as dangerous as his exclusion of Black characters. This exclusion has the effect of erasing the authentic Black experience altogether, making it meaningless within the discourse of popular culture. Yet Hitchcock himself was rewarded for his efforts, earning critical praise and Academy Award nominations for his masterful ability to create suspense in this film, regardless of his shoddy characterization of racial issues in 1950s America.end student sample text

annotated textEvidence. In this paragraph, Marshall highlights another specific example of the lack of diversity in film. With this example, she goes into more detail to illustrate the harmful stereotyping and exclusion of Black characters.end annotated text

student sample textWhile some may argue that as a White filmmaker Hitchcock does not have a responsibility to reflect the Black experience accurately in his films, their argument falls apart with Hitchcock’s use of “audio blackface.” Hitchcock accepts the responsibility of including the Black perspective, but he fails in his presentation, and the film suffers for it when Hitchcock goes for a laugh at the expense of the Black community. Instead of elevating Black culture and experiences through his use of Black characters, he portrays their point of view as invalid and perpetuates their oppression. Hitchcock doesn’t just ignore the existence of Black people, he uses them to promote a racist agenda.end student sample text

annotated textAddressing a Counterclaim. Marshall admits some people might argue that Hitchcock is not writing a social drama and thus accept his exclusion of Black characters. But she then counters this opinion.end annotated text

student sample textThis moral failure becomes clear when Rear Window is contrasted with its counterpart Number 37, a remake of the original as envisioned by South African writer and director Nosipho Dumisa. In Number 37, the disabled spectator, Randal, is confined to his apartment in a notoriously dangerous area of post-apartheid South Africa when he notices a criminal murder a cop. He descends into a voyeuristic frenzy as he uses the crime to figure out how to resolve his debt to a former gang mate. By adding layers of violence, an African setting, and the inclusion of a paralyzed Black protagonist, Dumisa creates a film that transcends the plot to comment on the social narrative of poor Black people following the end of apartheid in South Africa.end student sample text

annotated textThesis. This paragraph introduces the film Number 37 to illustrate the thesis that underrepresentation of Black people in film is harmful to society.end annotated text

annotated textEvidence. Marshall briefly summarizes plot events so that readers unfamiliar with the film know something about the plot and how it differs from Hitchcock’s Rear Window. She also provides information about the main character and setting but indicates that these are not her focus, as she mentions that the film “transcends” plot. The implication is that it transcends certain other film criteria as well.end annotated text

student sample textWhile both Hitchcock’s Jefferies and Dumisa’s Randal make light of a murder, Randal’s response is mired in his social situation as a Black man in South Africa, whereas Jefferies’s response is mired in his social situation as a privileged White man in America. Dumisa’s film reflects a cultural depth that Hitchcock compromises for a joke. She understands that “you can entertain while still teaching the audience something” (Obenson).end student sample text

annotated textStructure. Marshall uses this paragraph to contrast the original Rear Window with a remake of the film. Comparing and contrasting similar works is an effective technique for illustrating a point when the purpose is to evaluate a work.end annotated text

annotated textCriteria. As criteria for comparison, she chooses characters, plot elements, and most important here, social context. In her comparison, she uses a relevant secondary source, as she does in the paragraph that follows and introduces Black Panther.end annotated text

student sample textMalian writer, filmmaker, and cultural theorist Manthia Diawara describes the “manner in which black spectators may . . . resist the persuasive elements of Hollywood narrative” as a “challenge to . . . spectatorship and the aesthetics of Afro-American independent cinema” (845). The 2018 movie Black Panther may be understood as an answer to Diawara’s challenge. Skillfully directed by African American screenwriter Ryan Coogler, Black Panther is an example of the aesthetic beauty and financial success that art can achieve when not only are Black characters cast but also when Black storylines are expressed by the people who have had firsthand experiences.end student sample text

annotated textCriteria. Using a genre criterion of directing, Marshall notes director Coogler’s “skill.”end annotated text

annotated textCriteria. Marshall praises the performance of American actor Chadwick Boseman (1976–2020).end annotated text

annotated textSocial Context. She also quotes from a secondary source as an opportunity to respond to and engage with the scholar quoted.end annotated text

student sample textBlack Panther chronicles the origin of the Marvel superhero Black Panther—played compellingly by Chadwick Boseman—who is descended from a line of black panthers living in the fictional African region of Wakanda. Wakanda is technologically advanced because of its rich store of a fictional metal called Vibranium. While the Wakandans have benefited from Vibranium, they have kept it from the outside world by cloaking their society in the stereotypical poverty expected of Africans by Western nations. In Black Panther, this reversal of the roles of the advanced and the underprivileged serves as a critique of the historical actions of Western nations.end student sample text

annotated textSocial Context. In the paragraph above and the one that follows, the author focuses on social context. She wants readers to see the possibilities in Black Panther when Black people’s authentic stories are shown to a wider audience.end annotated text

student sample textAlthough mythological and thus fictional, the movie features many references to African American history and the African American experience: slavery and the slave trade, colonization, the exploitation of Africa, civil rights, Black militancy, systemic poverty, and the loss of Black men—especially fathers—to violence and incarceration. These topics are usually whitewashed or ignored in popular cinema because of their graphic and racially charged nature.end student sample text

annotated textComparison to Other Films. Marshall broadens the scope of her statement by bringing in the problem as it relates to other films.end annotated text

student sample textHowever, because diverse audiences viewed and welcomed this film, the movie registered as valuable not only for the people it reflected but for non-Black people as well. This effect supports Dumisa’s argument that Black art has the power both to entertain and to instruct when representation is not only present but authentic.end student sample text

student sample textThe film reinvents the representation of Black people in American cinema through its characterization of Black superheroes. Although the villain of Black Panther, Erik Killmonger, is Black, the character is not the stereotypical Black criminal of movies past. Despite his last name and the negative connotation of monger, this intense and angry antihero, played by Michael B. Jordan, captures the sympathy of viewers.end student sample text

annotated textConnotation. Marshall explains Killmonger’s name. Monger, meaning “vendor,” has a negative connotation, implying dealing aggressively in an undesirable product.end annotated text

student sample textWhile young, Killmonger loses his Black militant father who was living in the United States as a Wakandan emissary. Killmonger’s anger and his fight against Wakanda represent an effort to take back what he views as his father’s loss—the ability to arm poor Black people throughout the world in a fight for civil rights. Although his anger may be misguided, viewers are able to understand its source and empathize. If the Killmonger villain were purely evil or unintelligent, he would have embodied the criminal stereotype who has appeared in a lot of movies. In this film, however, he becomes someone who cannot find a positive outlet for his Black rage, something that is relatable to many Black people today.end student sample text

annotated textEvidence Based on Criteria. Using specific details from the film, Marshall illustrates how Black Panther “reinvents the representation of Black people in American cinema.” She describes Killmonger in detail and connects those traits to her point that the character represents a villain whose motivations are relatable to the audience.end annotated text

student sample textWhen the Black Panther, T’Challa, reclaims Wakanda from Killmonger at the end of the movie, he shows his cousin Killmonger grace by inviting him back into the Wakandan community, an ideal that is characteristic of the Black communal experience. T’Challa offers Killmonger a place in their society, which Killmonger rejects, lamenting, “Just bury me in the ocean with my ancestors who jumped ships, ’cause they knew death was better than bondage.” Killmonger’s frustration mirrors the modern-day frustration with the exploitation and degradation of Black people in all aspects of life. The incarceration of Black citizens, primarily men, is the simple answer to the complex problem that crime is often the manifestation of poverty, social oppression, and systemic racism, and even Wakanda is not immune from this problem. In this sense, Wakanda is not a utopia, but a working model of purposeful Black agency within the international community.end student sample text

annotated textEvidence. Marshall continues her analysis with more specific examples, this time quoting from her primary sources to illustrate her point.end annotated text

student sample textA systematic form of racism is perpetuated by producers and filmmakers intentionally distorting or excluding the Black experience from art. These racist intentions have the effect of teaching, or brainwashing, audiences to dismiss Black perspectives, thus contributing further to the racist structure of the film industry. When films leave out Black characters, they create a narrative reality in which Black people are not essential. This situation translates into a physical reality where Black experiences and stories are not seen as profitable or valid by the public.end student sample text

annotated textConnotation and denotation. Marshall uses words with strong connotations: short-sighted and narrow, when used in certain contexts (relating to a vision problem and to width). These words take on negative connotations when placed in a cultural context. So do words like brainwashing, which has negative connotations as opposed to a more positive or neutral word like teaching or instilling. Diverse, however, has positive connotations in this same context, despite its neutral denotation of “varied.”end annotated text

student sample textHowever, when the short-sighted and narrowly representative Rear Window is contrasted with the diverse and highly successful Black Panther, the act of dismissing Black characters appears outdated and not economically necessary. Yet the practice of exclusion continues in many high-budget films because Hollywood is still controlled largely by the White male point of view. These male executives have a stake in producing films that support and facilitate the status quo of the perpetuation of a narrative that they can relate to. They have no reason to emphasize story lines that compete with or threaten their authority unless audiences become critically aware of the power of media to legitimize and delegitimize social groups. Audiences must “resist the persuasive elements of Hollywood narrative” (Diawara 845) with their pocketbooks.end student sample text

annotated textConclusion. Marshall ends with a rewording of her thesis, as well as a summary of her evidence. She issues a call to action through a quotation from one of her secondary sources.end annotated text

Works Cited

Diawara, M. “Black Spectatorship: Problems of Identification and Resistance.” Screen, vol. 29, no. 4, Jan. 1988, pp. 66–79, doi:10.1093/screen/29.4.66.

Obenson, Tambay. “Alfred Hitchcock’s ‘Rear Window’ Has Been Remade as a South African Political Thriller.” IndieWire, 19 Nov. 2018, www.indiewire.com/2018/11/number-37-south-africa-hitchcock-rear-window-120202152/#!.

Watson, Amy. “Film Industry—Statistics and Facts.” Statista, 10 Nov. 2020, www.statista.com/topics/964/film/.

annotated textCitation: Marshall uses MLA style to document her sources.end annotated text

Discussion Questions

1.
What criteria does Caelia Marshall use to evaluate the films she reviews in her essay?
2.
How does Marshall provide background and context behind the films Rear Window and Black Panther?
3.
Why has Marshall chosen to focus on criteria other than those listed in Figure 7.3? Do you think her choice is effective? Why or why not?
4.
How does Marshall's use of secondary sources help support or hinder her review of the films she discusses?
5.
What are the advantages or disadvantages of films with characters to whom the audience can or cannot relate? Which do you prefer? Why?
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