Rev. Dr. Jacqui Lewis: [Black pathology] has two causes: one is institutionalized racism, and we just have to admit that America was built on a fault line called race, and that thing is cracking wide open. So, all of these are symptoms of that. Some of them are that we internalize the narrative. And I think the other thing, you were pointing to a little while ago, is that somehow it makes us feel like we have more power, if it’s ‘our stuff’ — we’ve got more power to examine it, to fix it. But I think the bottom line is, this isn’t at all about Black pathology; it is about racism in America, which is in fact, pathological.
By Guest Contributor Sunny Huang
Two weeks ago, Big Hero 6 premiered to critical acclaim at the Tokyo International Film Festival. Even earlier, it made a big splash at New York Comic Con. And it will open tomorrow as a likely box-office success — a projected $51 million in its first weekend — in the U.S. But with less than a full day to go, I am surprised by the lack of substantial criticism for it.
Frozen generateda firestorm of controversybefore it was released in mass and niche publications, yet there is little for Big Hero 6, which goes to show just how much Asians and Asian-inspired media are pushed out of the conversation. And the only criticisms that have appeared focus on the film’s episodic storytelling and choice of Fall Out Boy for the soundtrack, instead of its lackluster Asian representation and continued cultural appropriation by Disney. In fact, Big Hero 6 is being lauded for transcending these problems, when it is the very embodiment.
After spending my childhood barely seeing myself and my people represented on screen, I immediately made my brother watch the trailer. As a 20-year old, I was so happy that my 10-year old brother would have the chance to grow up without self-resentment. I was so grateful to know he would have the chance to not loathe his race because he would see characters who looked like him be appreciated. It was a chance I did not have.
When the trailer was over, I yelled at him. Look, look!An Asian character! Another character who’s Asian besides Mulan! From the biggest animation studio today! Do you know how many people like us will see how progressive this movie is?! To that, he just stared at me and said—
What? I thought he was white.
It was then I realized something was wrong. This movie was being marketed as progressive and beyond its time for giving its studio the opportunity to address “its historical reputation for ethnic homogeneity and cultural appropriation.” But if an Asian-American kid could not identify the main character as Asian, as part of his own group, then what else was wrong?
Turns out, a lot. The protagonist’s racial ambiguity just started the conversation.
The film is based off the Marvel Comics characters of the same name, but with major differences—many of them questionable, and some of them outright wrong.
SPOILERS for both the movie and the comic under the cut.
Top image from Transposes, by Dylan Edwards
By Arturo R. García
The Falcon is going to be the new Captain America! Great! But then what?
Oh, you expected this to stick? History says otherwise. But there’s a potential problem ahead.
SPOILERS under the cut
By Arturo R. García
In the midst of not only the fight to change the Washington D.C. pro football team’s name but the San Francisco Giants’ embarrassing display during “Native American Heritage Night,” This is a Stereotype couldn’t come along at a better time.
Billing itself as “a free and alternative narrative to addressing possible causes and effects of Native American stereotypes,” the project was inspired by Stereotype: Misconceptions of the Native American, an exhibition at the Museum of Contemporary Native Arts (MoCNA) in New Mexico last year by artist Cannupa Hanska Luger and furthered through the work of filmmakers Dylan McLaughlin and Ginger Dunnill. The film successfully raised just over $10,000 on Kickstarter this past August.
“It’s all about getting our voices and getting our faces and our images and our designs out there to challenge those stereotypes,” Native Appropriations’ Adrienne Keene says in the teaser above. “We’ve been so invisible for so long, and now we have a new opportunity through social media.”
Last month, the creative team posted that, in addition to conducting interviews for the feature, it had reviewed footage from communities including the “Nambé, White Mountain Apache, Ojibwa, Inupiaq, Shoalwater Bay, Yakima, Kiowa, Ohkay Owingeh, Coeur D’Alene, Lower Sioux,” among many others.
MoCNA is scheduled to host the film’s first screenings on Aug. 23 and 24. Two more teasers can be seen below.
[Top image via “This is a Stereotype” Facebook page]
[h/t Native Appropriations]
We’re just over a week away from the pop-culture experience that is San Diego Comic-Con, and while Arturo and Kendra pore over the event schedule to prepare their preview, we’d like to ask your help in finding some people who might be flying under the radar.
If you or somebody you know is a POC creator at the show, drop us a line at firstname.lastname@example.org — use the subject line Racialicious SDCC — or in the comment thread here and let people know about your project. We’ll give you a signal boost in not only our two-part SDCC preview next week, but on social media, as well.
Just like last year, both Kendra and Arturo will be live-tweeting panels and posting during the event, on their respective Twitter accounts and the official Racialicious feed. Do let us know, Racializens, if you’ll be around as well. We’d love to see you there!
By Arturo R. García
Sony Entertainment might be pleased right now about the opening-weekend performance from Amazing Spider-Man 2. A $94 million domestic take isn’t a Marvel-level success, and the film has gotten middling reviews, but it’s been a decent start.
But the company should be concerned about the arrogance exhibited by executive producers Avi Arad and Matt Tolmach late last week, as they effectively rejecting the possibility of seeing a Spider-Man who is not cis-white het male Peter Parker inhabit Sony’s Spider-film realm. As The Mary Sue reported, Arad and Tolmach put the kibosh on that talk in an interview with IndieWire:
IndieWire: Are Miles Morales (“Ultimate Spider-Man”), Ben Reilly (clone Spider-Man) or Miguel O’Hara (“Spider-Man 2099″) on the table? If you want a Spider-Man movie every year why not bring in some of the other variations?
Arad: No. The one thing you cannot do, when you have a phenomena that has stood the test of time, you have to be true to the real character inside – who is Peter Parker? What are the biggest effects on his life? Then you can draw in time, and you can consider today’s world in many ways. But to have multiple ones… I don’t know if you remember, but Marvel tried it. And it was almost the end of Spider-Man.
IW: So Spider-Man in the cinematic realm will always be Peter Parker?
Tolmach: As far as we’re concerned. The guys who take it over after us … Who knows …
It’s true that Sony runs the ASM brand independently of Marvel’s operation, but if movie!Spidey were truly independent from his comics counterpart, Otto Octavius’ stint assuming Peter Parker’s identity in Superior Spider-Man might not have wrapped up just in time for the new movie.
Friend of the blog Jaymee Goh tipped us off about a special event honoring Latino Science Fiction at the University of California-Riverside on Wednesday.
Held under the auspices of the school’s Science Fiction and Technoculture Studies program, “A Day of Latino Science Fiction” kicks off its program at 10 a.m. with a panel discussion featuring authors:
- Mario Acevedo (Werewolf Smackdown, Felix Gomez series)
- Rudy Ch. García (The Closet of Discarded Dreams,)
- Ernest Hogan (Cortez on Jupiter, High Aztech)
- Beatrice Pita and Rosaura Sánchez (Lunar Braceros)
The program resumes at 2 p.m. with a panel featuring longtime TV director Jesús Treviño (Babylon 5, Star Trek: Voyager & Deep Space Nine) and Michael Sedano from the long-running Latino lit site La Bloga. The event is free to the public, and the flyer is under the cut.