Ronald Reagan And The Struggle For Black Dignity

Movies and entertainment outlets speak volumes about the current state of a nation’s culture. Cinematic creations in the United States allow small voices to be heard and controversial issues to be addressed. However, a repetitive and monumental issue continues to be addressed, yet continues to persist in our 21st century culture, racial inequalities. Since the inception of the United States, black men and women alike have been disenfranchised at the hands of the “white man” in America. Instead of continuing the conversation today, the issue is continually silenced referencing the successes and achievements of the Civil Rights Movement in the 20th century. Nonetheless, an unfortunate reality looms upon this great land; racially based systems and structures continue to exist in 2015 the in United States. This paper synthesizes three films focused on racial inequalities in different time periods. Separate but Equal (1991), Selma (2015), and Crash (2005) illustrate how influential the Civil War amendments are, while serving as an uncanny reminder of how the racial prejudices during the 20th century continue to exist in our great nation today. Needless to say our nation has made great strides, but still has a long way to go.

Citizens throughout American history have often presented the “home of the free” and the “land of the brave” as the perfect nation, filled with perfect families, and more extreme examples of how impeccable the nation truly is. No time presented the United States of America in a more splendid light than the 1950’s. The 1950’s are remembered as a decade of prosperity but as with every time period, multiple historical issues marred this time. The United States encountered political, diplomatic, and social issues throughout this decade (Hewitt and Lawson, 832). Hairspray, the 1988 film by John Waters, was set in the 1950’s and reveals depths of racism and stereotypes during this period, while presenting smaller examples of the issues of sexism, religion, and inequality.

Topic: In 1866, the Ku Klux Klan was founded by many former confederate veterans in retaliation to their current Republican Party’s Reconstruction-era policies aimed at establishing political and economic equality for blacks. The Reconstruction era sparked by President Lincoln’s Emancipation Proclamation clearly defined that the days of white superiority were in dissolution. Through a willful ignorance and an insecurity of what might postlude the civil rights movement, the KKK rose, using terror in pursuit of their white supremacist agenda. Nathan Bedford Forrest, a former Lieutenant general in the Civil war, became the KKK's first Grand Wizard. Now with a steady leader the klan became a persistent political party aimed at dismantling the increasingly

When thinking about black actresses in the 1930s through 1950s, a few names may come to mind like Nina McKinney, Lena Horne, Dorothy Dandridge, and Hattie McDaniel. However, many other black actresses have graced the big screen including Suzette Harbin, Theresa Hams, Ethel Moses, Mae Turner, and Hilda Simms just to name a few. Many of these talented actresses differ in their career paths, but they all endured some form of racism and sexism which made it laborious for them to thrive in their careers. By the Way, Meet Vera Stark represents the hardships of black actresses during the 1930s through 1950s. The protagonist, Vera Stark, persistently tries to prove to the people around her that she has star quality for show business. However, she does not reach her potential because of her race. Although she obtains some gigs, the gigs demean black women during that time. The offensive parts for black actresses vary from mammy to slave woman to seductress. The following roles offered black actresses’ opportunities to one day acquire star making roles. Unfortunately, those roles did not apply to black actresses. Only white actors and actresses experienced that fortuity. By the Way, Meet Vera Stark exposes Hollywood’s misconduct of black actresses and further explains the lack of black representation today. Indeed, roles for black actresses have increased since the 1930s through 1950s; however the roles have become more stereotypical like the obnoxious black woman, the token black

Following his inauguration, Roosevelt's attitude toward African Americans changed little. He not only opposed vital civil rights legislation like the anti-lynching bill, designed to make lynching a federal offense, but showed little interest in challenging even the most blatant manifestations of racial injustice in the proliferation of New Deal agencies. The National Recovery Administration (NRA), Agricultural Adjustment Administration (AAA), the Works Progress Administration (WPA), the Tennessee Valley Authority (TVA), the Civilian Conservation Corps (CCC), and the Federal Emergency Relief Administration (FERA), to name only a few, all failed to protect blacks against discriminatory employers, agency officials, and local

Timothy B. Tyson is a teacher, historian, research scholar, and an award-winning author. Tyson was born in North Carolina in 1959 and was raised there his whole life. In 1987, Tyson earned a B.A. at Emory University and then his Ph. D in history at Duke University in 1994. He also became an assistant professor of Afro-American Studies at the University of Wisconsin -Madison the same year he received his Ph.D., and later became a full-time professor. Tyson currently stays in Madison, Wisconsin with his wife Perri and their two children, and serves as a Senior Research Scholar at Duke University for Documentary Studies. Tyson has also received many book awards such as the John Rawley Prize and the Frederick Jackson Turner Prize for one of

While the 1970’s and 80’s marked a decline in movies featuring black actors and a lack of black directors, the mid 1980’s through the 1990’s invited a new generation of filmmakers and rappers, engaging with the “New Jack” image, transforming the Ghettos of yesteryears into the hood of today. A major director that emerged during this time was Spike Lee. According to Paula Massood’s book titled, Black City Cinema, African American Urban Experiences in Film, “…Lee not only transformed African American city spaces and black filmmaking practices, he also changed American filmmaking as a whole.” Lee is perhaps one of the most influential film makers of the time, likely of all time. He thrusted black Brooklyn into light, shifting away from the popularity of Harlem. By putting complex characters into an urban space that is not only defined by poverty, drugs, and crime, it suggests the community is more than the black city it once was, it is instead a complex cityscape. Despite them being addressed to an African American audience, Lee’s film attract a mixed audience. Spike lee’s Do the Right Thing painted a different image of the African American community, “The construction of the African American city as community differs from more mainstream examples of the represents black city spaces from the rime period, such as Colors…, which presented its African American and Mexican American communities through the eyes of white LAPD officers.”

The goal of this investigation is to delve into the question of: to what extent was the resurgence of the Ku Klux Klan during the 1920s a reflection of societal change? In order to assess this question from multiple perspectives on the topic, research is needed to further look into the Klan’s motives both prior to their revival as well as after. Events in the 1870s, when the Klan ended, as well as events in the 1920s, when the klan was reborn, will be considered in this investigation in order to make connections between the KKK and why their revival in the 1920s reflected societal change. Among these events include the end of Reconstruction, the Progressive Era, increase of immigration to the United States, as well as the “red scare” of communism.

During The Reconstruction era, African Americans faced many obstacles on their way to success. Reconstruction of the United States refers to the remodeling that took place after the civil war. The country was injured in all areas. Its society, economy and physical structure had been In January of 1863; President Abraham Lincoln lifted the chains off thousands of African Americans’ shoulders by releasing the Emancipation Proclamation. Unfortunately, this relief was short-winded. The Emancipation Proclamation stated that all people who were deemed as slaves, were to be set free from slavery and guaranteed to no return to it. At first glance, this new legislative act appeared to provide endless opportunities for newly freed African Americans. Instead, life after the passing of the Emancipation Proclamation conceived more problems for African Americans than those they possessed during the bondage of slavery. After the Emancipation Proclamation was passed, African Americans faced various issues including a lack of opportunities, an unfair starting point and continuous discrimination.

Nevertheless, Nixon's attempt to foist ideas of drug use and immorality onto his political opponents, including minorities was not especially successful as a racial project. Indeed, as indicated by polling around the rise of Ronald Reagan, Americans did not see drugs and crime as central issues around which the presidency should revolve (Citation). President Ronald Reagan who reaped the harvest of Nixon's seeds of racialization, summoning power from "The War on Drugs" that Nixon left unrealized (Citation). Instead of othering immediate political opponents and threats to power, Ronald Reagan subverted an entire race through a racial project of racializing crime. Omi and Winant define racialization as "the extension of racial meaning to a previously

The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun.

Film and television, for example, have been notorious in disseminating images of racial minorities which establish for audiences what people from these groups look like, how they behave, and “who they are.” The power of the

The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith

According to Tukachinsky, Mastro, and Yarchi, prior to 1930, the role of Blacks on screen were seen involving mostly in criminality and idleness (540). That role still persists until the present, with Blacks usually have to withstand to “longstanding and unfavorable media stereotypes including sexually provocative females and aggressive male thugs” (Tukachinsky 540). 1970’s movies such as The Mack, Black Caesar and Coffy have reinforced this stereotypic image of the black community. The

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were