Hollywood's Whitewashed Diversity*

With the award season fully underway, eyebrow have been going up over the lack of diversity in the recent Academy Awards nominations announcement. Immediately after the January 15 announcements, social media, Twitter in particular, went into a major uproar. The hash tag #OscarsSoWhite went viral after the Academy revealed that all 20 male and female contenders in the acting categories are white.

The Academy’s first black woman president, Cheryl Boone Isaacs, reported to New York magazine blog Vulture “that the organization does not have a diversity problem ‘at all.’” However, many fans, actors, and the like would have to disagree with this sentiment, considering the predominantly white list of artist nominations. This year’s Academy Awards is the whitest Oscars since 1998. Many people have expressed their frustrations as more disappointment than surprise, (i.e. CNN LA correspondent David Daniel “#OscarNoms No female directors, screenwriters, or cinematograhers. No actors of color. #diversity”) because this is neither the first, nor the second time that this has happened. In the last 30 years, the acting categories have been completely devoid of non-white nominees a total of five time (1989, 1992, 1996, 1998, and 2015). Though we supposedly live in a “post-racial” society, it seems the Academy has not received that memo.

This white-washing of the Oscars is quite significant, considering that one of the films snubbed, Selma only received two nominations: “Best Picture” and “Best Song” for Glory (John Legend and Common), without an actor or director nomination. Despite high marks from critics and having the best review for “Best Picture” (receiving a score of 99) of all the nominations, British actor David Oyelowo missed out on a nod for Best Actor for his powerful and chilling performance of Martin Luther King, Jr., and the Academy failed recognize the visionary young black Ava DuVernay in the “Best Director” category. Had DuVernay been nominated, she would have made history as the first ever black female to be nominated in that category. Films like Selma remind audiences how relevant and worthy of a discussion the film’s poignant subject matter is. Particularly in light of the unrest over the killings of Michael Brown and Eric Garner in Ferguson and New York, respectively, and even locally, echoing heavily on the American conscience, there’s a need for a film such as Selma to remind the country of what has happened and continues to happen…and how we still need change.

A year ago, it appeared as though the Academy had made some strides in diversity. 12 Years of Slave won “Best Picture” along with the ground-breaking win from Lupita Nyong’o in the Best Supporting Actress category. Additionally, Alfonso Cuaron was the first Hispanic man to win Best Director, while Chiwetel Ejiofor won “Best Actor” and Captain Phillips star Barkhad Abdi won “Best Supporting Actor”. Those seemed to be the major talking points, but this year, the nods made a drastic turn.

In response to this lack of diversity, many fans and actors took to Twitter to voice their support for fellow actors:

“So #OscarNoms hmm. Shout out to my brother #DavidOyelowo you’ve been robbed but you’re not defined by this and your talent can’t be taken.” ~ @NoelClarke

#OscarsSoWhite that even The Lego Movie didn't get nominated for Best Animated Film because Morgan Freeman voiced a character. ~ @ShaunKing

The significance of these awards has always been a controversial interest. Now some may argue that the Golden Globes was full of diversity, which is true; however, much of that diversity came from the television genre. Others have given up hope, realizing that waiting for the Academy to recognize diversity and talent may be an infinitely long wait. Since the Academy’s birth, African Americans have had a complex, abstruse relationship with the Academy Awards. Whether they are nominated for roles such as boxers, sharecroppers, drug addicts, abused or scorned women, welfare mothers, maids, psychics, drug dealers, prisoners, or simply not nominated at all, there is hardly an amicable relationship.

Although it is hard to ignore the righteous anger, one can’t help but ask: do actors, actresses, and directors really need the Academy’s approval of their acting talents and gifts?

*As seen also in The Berkeley Graduate

Taking A Trip Back in History...to "Selma"*

Bringing certain historical events to the Hollywood screen can have a spellbinding, lingering effect. The historical drama Selma does just that for audiences. The candid film witnesses Dr. Martin Luther King Jr.'s campaign to secure equal voting rights, while it simultaneously chronicles a significant chapter in American History, the epic 1965 march from Selma to Montgomery, Alabama. Here is a film that is very difficult to expound in a few words, considering the obvious affect that it will have on viewers. Certainly, many historical films are tough to appreciate, especially when one already knows the story and the eventual outcome. As far back as we can remember, we have read, heard, taught, and maybe even experienced Dr. Martin Luther King Jr.’s efforts. There are numerous hours of footage and countless recounts of his modus operandi and the volumes of writings that give insight into his mind. This film is exceptional for examining deeper than King the dreamer, and providing an understanding of his humanity as a man.

Selma is possibly one of the most powerful films ever made regarding the 1960s Civil Rights Movement. Sundance-winner and Golden Globe nominated director Ava DuVernay does an incredible job of capturing, what she refers to as, "small moments" that permit you to connect to King’s character on an intimate level. At the screening I attended, DuVernay spoke to these moments saying, "I knew that by doing a movie on King, we would have to do speeches, and early on I obsessed about the speeches. However, when I got on set, I began to focus on how to best capture the small moments that showed King's humanity." The film’s timeline was brilliantly constructed, neither exaggerating how much of King's life viewers needed to see, nor exhausting the moments.

As worthy a film as it is, "Selma" is not unblemished. For example, painting the relationship between King and LBJ as borderline confrontational. However, this may have had the purpose of making a point about the devastating, in many cases fatal, struggles and inequalities African Americans faced during the 1960s. Screenwriter Paul Webb and director Ava DuVernay present Dr. King as a fully rounded individual, even including his flaws, something rarely done when discussing King. Additionally, the majority of "Selma" points to of Dr. King’ strategies and adversities during the crusade.

One of the strong points towards the film’s credit is the cast, and their ability to showcase these amazing historical figures. The audience gets a front-row seat in the mind of Dr. Martin Luther King, Jr. (played by David Oyelowo, Lincoln and Jack Reacher), watching him work during this tumultuous time. Early on, Oyelowo is somewhat inconsistent in playing King, but as the film progresses, he visually and figuratively transforms and elevates the role to another level. We witness a spirited and vulnerable King unfolding. By the close of the film, his performance is so strong, were Oyelowo not actually shown on the screen, one might not be able to identify whether it was Oyelowo or an old recording of King himself. Additionally, Carmen Ejogo (Sparkle, The Purge: Anarchy), offers a beautiful performance portraying Coretta Scott King with such depth and honesty that she's hard to overlook. Ejogo's performance is truly memorable.

Selma highlights other key figures, particularly women, from the Selma marches and the civil rights movement as a whole. For example, Amelia Boynton (played by Lorraine Toussaint “Orange is the New Black”) took part in the early activism and black voter registration drives in Selma, Alabama, and was part of the “Bloody Sunday” march in Selma. Another key figure was Diane Nash (played by Tessa Thompson, Dear White People), a bright, fearless leader and co-founder of the Student Nonviolent Coordinating Committee (SNCC). Audiences also witness the work and diligence of other leaders close to MLK such James Bevel (played by Common, American Gangster), 1963 March on Washington, organizer and key leader in the 1965 Selma Voting Rights Movement. Other leaders and key players portrayed in the film included Ralph Abernathy, Andrew Young, Annie Lee Cooper, Hosea Williams, Bayard Rustin, John Lewis, and James Forman. By acknowledging these other leaders, the film shows viewers the numerous angles and thought-processes that happened during the 1960s Civil Rights Movement. Whether it is in films, daily conversations, and/or in the classroom often times certain leaders overshadow others who played just as much a role in these monumental moments. Overall, the selection of key figures that are portrayed in the film, and the casting of actors/actresses playing them, is very exceptional.

While the screenplay is solid and eloquent though not gut-wrenching, DuVernay's direction is impressive, with sharp cinematography and editing. The gifted cast shine, showing us vivid, detailed accounts of this significant historical event through each scene of the film. Viewers should take note that this is not a Martin Luther King, Jr. biopic film, but more a film replaying the events leading up to and during the march in Selma. Freshman writer Paul Webb does a pleasing job of making this film “family friendly,” considering the sensitive nature of the subject. Leaving this film, your heart and soul cannot escape emotional impact. Think of watching Selma like engaging in a powerful, cinematic history lesson.

*As seen in The Berkeley Graduate

Disappearing Acts: Zoe Saldana as Nina Simone & The Erasure of Black Women in Film

Just had to repost!! 

Disappearing Acts: Zoe Saldana as Nina Simone & The Erasure of Black Women in Film

by  Nicole Moore | HuffPost BlackVoices

"I've never changed my hair. I've never changed my color, I have always been proud of myself, and my fans are proud of me for remaining the way I've always been." - Nina Simone

When I think of Nina Simone I think of her dark chocolate skin, her full lips and her tight 'fro. Her looks were and still are every bit as relevant and powerful as the songs she sang. As a matter of fact, her undeniable African features defined and empowered her musical career. So it's no small wonder that people are outraged at hearing last week's confirmed announcement that Zoe Saldana, an Afro-Latina with a café au lait complexion and fine facial features, has been cast as the High Priestess of Soul in an upcoming bio-pic. The fires were fanned this past weekend when an interview by the film's writer and director, Cynthia Mort, surfaced in "Entertainment Weekly" where she talks about the biopic as something seemingly more inspired by Nina with composite characters than a film about Nina and the real-life characters from her life.

Zoe Saldana, best known for her roles in Avatar and Columbiana, may have the acting chops to play the lead in a feature movie, but when it comes to playing Nina Simone, I'm not so sure. It's not simply that Saldana looks nothing like Simone, a woman who could spit out a truthful and caustic Mississippi Goddamn that reminded you in no uncertain terms that she had been rejected because of her skin color. 

Casting Saldana also attempts, if inadvertently, to erase the memory of Simone's revolutionary ebon image from our minds and history's musical canon. Saldana as Simone specifically challenges the message of Simone's music and undermines the power of her well-documented resistance to conventional ideas of beauty and colorism. Nina's success and appeal had as much to do with her talent as it did with her having big lips, wide hips and that Mama Africa bosom. Unlike Lena Horne, Diana Ross & The Supremes, and Tina Turner whose crossover success was as much a result of having talent as well as having sexy live performances and glamorous good looks, Nina used her experiences with racism, colorism and sexism to ignite her music with strength and resilience heard so defiantly in To Be Yong Gifted & Black for example.

Because Simone's blackness extended as much to her musical prowess as to her physicality and image, it's perplexing that the film's production team, led by Jimmy Iovine, expects anyone, particularly in the black community, to (re)imagine Nina Simone as fair-skinned, thin-lipped and narrow-nosed? I guess if you look at Hollywood's history of casting black female roles, especially in biopics, it's not all that surprising.

With a few exceptions – Angela Bassett as Tina Turner, Halle Berry as Dorothy Dandridge and Beyonce as Etta James – Hollywood  has a long history of giving black actresses the finger by casting white women in the lead of films based on the lives of black women -- most famously Elizabeth Taylor as Cleopatra. Angelina Jolie was given the green light to portray Mariane Pearl, an Afro-Cuban Chinese, French writer in the 2007 adaptation of Pearl's A Mighty Heart, which we kinda let slide because, well, it was Angie. But then she was cast again in a role based on a black woman character in the film Wanted, an adaptation of the same titled comic book series in which the main character is a black.

And the real kicker came in 2008 when St"uck, the true life story of African-American Chante Mallard, for which Suvari had the nerve to sport cornrows. If it only requires cornrows and a full-lipped box-office bombshell to secure these roles originally penned as black women, then what's to prevent any blonde, brunette, pale-skinned actress from playing black? And if that's the case, then surely Hollywood types also think a light-skinned Black woman can portray a dark-skinned Black woman.

Tim Burton and the other producers behind Abraham Lincoln: Vampire Huntercertainly thought so when they cast Jacqueline Fleming, a bi-racial woman, as Harriet Tubman. And hell, even Aretha Franklin wants Halle Berry, a bi-racial woman, to play her in her own life story. And yes, Halle is the highest paid Black actress in America, but is that reason enough for her to represent every Black women on the big screen? From X-Men's Storm to Zora Neale Hurston's Janie, to Dorothy Dandrige and now possibly The Queen of Soul, Halle's image has seeped into America's (cinematic) consciousness as the face of every Black woman making it seem like we are this monolithic community of sistas. 

If Aretha, known as much for her voice as much for her thickness (and her taste in hats) doesn't even think full-figured, Oscar-winning actresses Mo'nique or Octavia Spencer would be great choices to portray her life story, I'm really not surprised by Zoe's casting. And I get that actors do not have to resemble the famous personas they portray, but when there are so few empowering images of Black women in TV & film, details like weight, skin color and hair become serious sticking points amongst Black folk.

And doors do not open for Black actresses with dark skin as readily or as often as they do for their male counterparts. Actors like Wesley Snipes, Sidney Poitier, Don Cheadle, Idris Elba, Bill Cosby and Sam Jackson do not encounter the same level of marginalization and erasure as Whoopi Goldberg, Regina King, Viola Davis and Alfre Woodard.

Then there's Tyler Perry, who has produced films like Diary Of A Mad Black Woman and a remake of Ntozake Shange's For Colored Girls, and has cast a number of Black actresses in his movies. Unfortunately, when the lead female character in many of these flicks is a gun-toting, outspoken, Bible-thumping, righteous she-ro named Madea-- Tyler Perry in drag-- and the other Black women are depicted as non-sexual or hyper-sexual, emotionally scarred, spiritually bereft women who just need God, Madea and a man to be happy, self-poised and empowered, then even and especially these portrayals affirm the notion that Black women are monolithic, simple and bordering on irrelevant. If a man in a dress with a gun is a box-office hit and popular with Black audiences then Hollywood takes note and actresses who look like Viola Davis or Regina King find themselves disappearing from the big screen.

Since the announcement of Saldana as the lead in Nina's biopic was made, a petition on Change.org has been created, which demands that Saldana be replaced. Supporters of the petition would rather that role go to Lauryn Hill, Adepero Oduye, India.Arie or Viola Davis. The petition, however, has been met with criticism by some who believe the role of Nina Simone is turning into a debate about one actress being "blacker" than another. Those who support Zoe, who is outspoken about being an Afro-Latina, say that her Blackness should not be defined by the color of her skin or the straightness of her hair. The fact that Zoe is Black Dominican is all that should matter. If standards of Black beauty in this country didn't have a history of being valued and de-valued based upon their semblance to whiteness as the standard then maybe it wouldn't matter.

In 1966, the woman born Eunice Kathleen Waymon penned The Four Women, which begins, "My skin is Black/ My arms are long/ My hair is wooly/ My back is strong/ Strong enough to take the pain/ Inflicted again and again." Nina had the posture, past and physicality to make this song not only brazen, but also believable and therefore revolutionary in it's telling. How can Saldana possibly bring the pain in an afro-wig and, God-forbid, dark makeup? The producers may as well cast Madea because if it's going to be all about make-up, wigs and fat-suits, ain't nobody bringing it like Mr. Perry.

***

Nicole is the Founder and Editor of theHotness.com. Follow her on Twitter:www.twitter.com/thehotnessgrrrl