For me, representation is mostly about style, and like many of my blog post, I’ve tried to air on the side of caution in putting too much stock into what gets produced for mainstream audiences. But, it would be foolish to think that representations in movies or on television do not affect the populous perceptions about particular social groups. To what degree, of course it is debatable. But, most of you reading this might agree that appearances, no matter how subtle, subverse, or flamboyant are nonetheless seductive.
I want to take a moment and discuss Tyler Perry, the reigning king for producing and directing movies geared toward predominantly African-American audiences. In the past 5 years Tyler Perry movies have become a staple among black audiences. Perry is the first African American to own a major film and TV studio. He has taken his Madea character, which originated in his plays, and transformed his drag performance into money making enterprise. And, make no mistake it is a drag performance, one in which could have some positive effects for the gay community’s relationship with the black community. I’ll return to this point.
In terms of story telling, the first main problem I have with Perry is his transparent and over the top plot structure. He uses the same narrative throughout most of his films. Character A is a tragically flawed person or victim of social circumstance, he or she, usually a woman, meets Character B, a man, who is explicitly cast as the ultra masculine, confident, yet humble man. She [Character A] refuses [Character B’s] advances at first. Finally, through some great epiphany her eyes are opened. She falls in love and finds her way back to the man and God. [Interestingly enough can you see the man/God parallels here; you (a woman) need a man and you need God] I realize that was a real brief generalization, but it’s pretty much the basic structure, girl meets boy. Of course, he has various, mildly intriguing characters covering the landscape; and, Madea is obviously the comedy relief for the stories depicting her character, too.
Secondly, I find the constant reinforcement of Christian religious undertones throughout his movies extremely problematic. Yes, a lot of black folks enjoy and love praising Jesus, and maybe that’s the audience Perry is only concerned with influencing. He has created a niche for himself that seems to be working well, monetarily. And, he is giving a lot of black actors’ work, which is a great thing. But, why is he the only voice, giving life on the big screen to black experiences? Not every black experience in America is centered around and dominated by the church, which is what most of his movies would suggests. This single and monolithic vision for depicting the black experience is one dimensional, but it’s what dominates in the media. And it is all too often the kind of representation that gets cast as “authentically black,” [check out CNN’s Black in American II coverage, I’m sure black folks and church will encompass most of the conversation]
I want to take a moment and discuss Tyler Perry, the reigning king for producing and directing movies geared toward predominantly African-American audiences. In the past 5 years Tyler Perry movies have become a staple among black audiences. Perry is the first African American to own a major film and TV studio. He has taken his Madea character, which originated in his plays, and transformed his drag performance into money making enterprise. And, make no mistake it is a drag performance, one in which could have some positive effects for the gay community’s relationship with the black community. I’ll return to this point.
In terms of story telling, the first main problem I have with Perry is his transparent and over the top plot structure. He uses the same narrative throughout most of his films. Character A is a tragically flawed person or victim of social circumstance, he or she, usually a woman, meets Character B, a man, who is explicitly cast as the ultra masculine, confident, yet humble man. She [Character A] refuses [Character B’s] advances at first. Finally, through some great epiphany her eyes are opened. She falls in love and finds her way back to the man and God. [Interestingly enough can you see the man/God parallels here; you (a woman) need a man and you need God] I realize that was a real brief generalization, but it’s pretty much the basic structure, girl meets boy. Of course, he has various, mildly intriguing characters covering the landscape; and, Madea is obviously the comedy relief for the stories depicting her character, too.
Secondly, I find the constant reinforcement of Christian religious undertones throughout his movies extremely problematic. Yes, a lot of black folks enjoy and love praising Jesus, and maybe that’s the audience Perry is only concerned with influencing. He has created a niche for himself that seems to be working well, monetarily. And, he is giving a lot of black actors’ work, which is a great thing. But, why is he the only voice, giving life on the big screen to black experiences? Not every black experience in America is centered around and dominated by the church, which is what most of his movies would suggests. This single and monolithic vision for depicting the black experience is one dimensional, but it’s what dominates in the media. And it is all too often the kind of representation that gets cast as “authentically black,” [check out CNN’s Black in American II coverage, I’m sure black folks and church will encompass most of the conversation]
