Media objects have become increasingly progressive over the past decade. This observable evolution includes both tokenistic and authentic representations. Nevertheless, media plays a significant role in the construction of prejudice, attitudes, and perceptions of Othered groups. On the other (not as popular) side, it can also nurture empathy, understanding, and belonging. Do media organizations have a responsibility to ensure correct representation? Or is it on the viewer to come to their own conclusions? I argue the former. The massive and extensive influence of media suggests a weight on their shoulders. Improper, stereotypical, damaging depictions of the marginalized have severe consequences, and not on media, but on the people they represent.
Looking back on the mountain of entertainment media released since the turn of the 21st century, a shocking number of portrayals of marginalized people are harmful. Let’s look at a few:
The Help (2011)
This film was critically acclaimed for its powerful performances and representations of Black women. However, a deeper inquiry into this film suggests tropes of white saviorism while completely negating the complex experiences of Black individuals at the hands of an oppressive and racist system. While The Help discusses these difficult topics, in the end, the white protagonist, Skeeter Phelan, is the one who speaks for the Black characters as opposed to creating a nuanced story straight from the mouths of the oppressed. Of course, one can understand the era of the movie and its implication (the 60s), but why not focus on Black citizens as opposed to white saviours?
American Sniper (2014)
American Sniper is the epitome of the all-American military man that goes to the Middle East to defend his country. This film follows the story of a Navy SEAL who became known as the most fatal sniper in US military history. The glaring themes of patriotism and dehumanization of Muslims and Iraqis function to spread repulsive and harmful messaging. The islamophobic narrative of this film, accompanied by the longstanding debate on whether the War on Terror was justified, represents dangerous rhetoric that continues currently within our media. The tried-and-true binary of good and evil within this film suggests a narrow worldview and an essentialist perception of Muslims, who make up approximately 25% of the world’s population.
Pocahontas (1995)
Pocahontas hits every major element of ignorance in reference to representation, the most blatant of them all being the romanticism of colonization. This film heavily glosses over the intense violence, genocide, and ethnic cleansing of Indigenous people across North America, and uses this reductionist narrative to push the idea that love transcends everything. Not only this, but it severely distorts the true story of Pocahontas, which is harrowing (while the accuracy of it is debated). Additionally, this film also produces a white saviour, with John Smith serving as the hero, effectively failing to communicate the experiences of the Indigenous in relation to European settler colonialism that destroyed their way of life.
Moving forward, challenges and barriers to meaningful representations are evident. Tokenism, whitewashing, and limited opportunity have hindered progression toward accurate depictions. Intersectional representations and real-world experiences are few and far. This suggests media conglomerates need to listen to the voices of marginalized communities and push for better representation both in front of and behind the camera. The media industry is overwhelmingly white. Propping up diverse voices and championing these people to success should be the focus.
Hannah Elatty 