Compare the choice that have been made in the representation of ethnicity in 'Formation' and 'The Help'
Compare the choice that have been made in the representation of ethnicity in 'Formation' and 'The Help'
- How the representations have been constructed
- The similarities and differences in how ethnicity has been represented
- How far the representations relate to relevant media contexts
In both texts the mise-en-scene and dress code is used to contrast the positions of black women throughout history. 'The Help' presents Viola Davis and Octavia Spencer's characters in simple house-maid attire compared to Emma Stone and Bryce Dallas Howard's characters dressed in classy summer dresses. 'Formation' has a similar contrasting image of Beyonce's predominantly black entourage of women dressed in antebellum bodices typically worn by white middle class women of that period. Both emphasise the inequality between the two groups in that class, race and sex determines the extent to which individuals are exploited (hooks). However 'The Help' chooses to portray an authentic representation of black women during 60s - 70s America whereas 'Formation' presents a hyper-real version of the truth. 'Formation' adopts a more aggressive stance in it's messages suggesting that their representations of ethnicity is an idealised version whereas 'The Help' chooses to portray the truth about racial context to represent the position of black women in the past.
The visual aesthetics of 'The Help' poster has a subtext that further emphasises the segregation between Caucasians and African-Americans during 60s.'The Help' poster chooses a bright yellow secondary background image connoting warmth, happiness and clarity compared to the purple font of the title associated with nobility, luxury and power. The representation of ethnicity is reproduced via the colours of the poster (Hall). The colours juxtapose African-Americans who would not feel warmth, happiness, clarity or be of nobility and power in the 60s. The unconventional bright bold aesthetics of the poster used for a movie that tackles the grounded subject of race is symbolic of the middle class Caucasians of the period, placing no great emphasis on its two black characters. This reproduces the neglect of the black community in the 60s who were considered to be 'others' (Gilroy) creating a sense of opposition (Levi-Strauss) between the two ethnic groups.
'Formation' focuses on representing both the prejudice and strength of the black community specifically black women. Beyonce seeks to empower the black community in hopes to break contemporary attitudes to race informed by history (Gilroy) such as colonialism and 1960s America as seen in 'The Help'. A mid-shot of Beyonce's daughter Blue Ivy accompanied by the line " I like my baby hair, with baby hair and afros" here Beyonce addresses her black audience to be proud of themselves and embrace their ethnicity. However much like 'The Help' Beyonce also addresses the prejudice black people face.The establishing shot of a flooded New Orleans references the racial tensions that followed the event. Shots such as the young black boy dancing in front of armed police is a jab at the police brutality African-Americans face on a daily basis.
Through simple gesture codes a power paradigm is presented to show the differences in ethnicity. By simply sitting on a bench it is clear Emma Stone and Bryce Dallas Howard's characters in 'The Help'are the authoritative figures as further evidenced by Emma Stone's direct gaze at the camera. 'Formation' takes a similar stance in that Beyonce also directly gazes at the camera creating a direct address between her and the viewer (Goodwin). In Beyonce's case she is the authoritative figure with the power. 'Formation' chooses to empower black females by presenting a strong black female figure in Beyonce in which black women can construct their identity (Gauntlett) whereas 'The Help' dis-empowers black women by reminding viewers of historical contexts and the position of the black community in the past
'The Help' uses mise-en-scene to portray ethnicity from the view of a Caucasian in 1960's America. Its fun and warm aesthetics does not match with contemporary audiences who are aware and empathetic towards the mistreatment of the black community throughout history. Although 'Formation' also raises awareness on the treatment of the black community throughout history it offers a subjunctive representation as well as a strong leading black female. The video chooses to represent the black community in this manner with the intent to empower black women and expose the brutality the community has faced.
The visual aesthetics of 'The Help' poster has a subtext that further emphasises the segregation between Caucasians and African-Americans during 60s.'The Help' poster chooses a bright yellow secondary background image connoting warmth, happiness and clarity compared to the purple font of the title associated with nobility, luxury and power. The representation of ethnicity is reproduced via the colours of the poster (Hall). The colours juxtapose African-Americans who would not feel warmth, happiness, clarity or be of nobility and power in the 60s. The unconventional bright bold aesthetics of the poster used for a movie that tackles the grounded subject of race is symbolic of the middle class Caucasians of the period, placing no great emphasis on its two black characters. This reproduces the neglect of the black community in the 60s who were considered to be 'others' (Gilroy) creating a sense of opposition (Levi-Strauss) between the two ethnic groups.
'Formation' focuses on representing both the prejudice and strength of the black community specifically black women. Beyonce seeks to empower the black community in hopes to break contemporary attitudes to race informed by history (Gilroy) such as colonialism and 1960s America as seen in 'The Help'. A mid-shot of Beyonce's daughter Blue Ivy accompanied by the line " I like my baby hair, with baby hair and afros" here Beyonce addresses her black audience to be proud of themselves and embrace their ethnicity. However much like 'The Help' Beyonce also addresses the prejudice black people face.The establishing shot of a flooded New Orleans references the racial tensions that followed the event. Shots such as the young black boy dancing in front of armed police is a jab at the police brutality African-Americans face on a daily basis.
Through simple gesture codes a power paradigm is presented to show the differences in ethnicity. By simply sitting on a bench it is clear Emma Stone and Bryce Dallas Howard's characters in 'The Help'are the authoritative figures as further evidenced by Emma Stone's direct gaze at the camera. 'Formation' takes a similar stance in that Beyonce also directly gazes at the camera creating a direct address between her and the viewer (Goodwin). In Beyonce's case she is the authoritative figure with the power. 'Formation' chooses to empower black females by presenting a strong black female figure in Beyonce in which black women can construct their identity (Gauntlett) whereas 'The Help' dis-empowers black women by reminding viewers of historical contexts and the position of the black community in the past
'The Help' uses mise-en-scene to portray ethnicity from the view of a Caucasian in 1960's America. Its fun and warm aesthetics does not match with contemporary audiences who are aware and empathetic towards the mistreatment of the black community throughout history. Although 'Formation' also raises awareness on the treatment of the black community throughout history it offers a subjunctive representation as well as a strong leading black female. The video chooses to represent the black community in this manner with the intent to empower black women and expose the brutality the community has faced.
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