Reflection based on provided material (deadline today 1.24.2021 before 22:00 Chicago time) Late will not be accepted
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Week 3 Celebrity, Industry, Power
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How might we assess diversity and inclusion efforts as overt racism decreases*?
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How might we assess diversity and inclusion efforts as overt racism decreases * ? *Or does it? Note that there is has been a rise in overt white supremacy (online and in the ‘real world’) in the last few years. Published academic work is only beginning to reckon with this.
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What does it mean that Michael Jordan was (and remains!) one of the most famous—and most commercially successful—people in America?
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What does it mean that Michael Jordan was (and remains!) one of the most famous—and most commercially successful—people in America?
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What does it mean that Michael Jordan was (and remains!) one of the most famous—and most commercially successful—people in America? b ell hooks: “repudiating identification with a politicized notion of blackness, Jordan [...] lends his image to the money-making schemes of the mainstream culture no matter how silly, ridiculous or even monstrous that image is made to appear.” (“Feminism Inside: Toward a Black Body Politic,” 1994)
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hook’s is critical of Jordan’s appearance in “Hare Jordan,” a popular 1993 Nike commercial that served as the inspiration for Space Jam . She laments that his physical and tactical skill are essentially parodied in order to sell sneakers. For hooks, Jordan’s celebrity pushed black athletic stardom into a purely commercial and hegemonic realm. Nicole Fleetwood details this movement in more detail...
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In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face.
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In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face. Political athletes who, through overt politics and/or circumstance, challenged representational conventions and fostered racial achievement Commercial athletes who celebrate American capitalism and avoid politics in order to build effective brands Jack Johnson -> Paul Robeson -> Jackie Robinson -> Muhammad Ali (+ Smith & Carlos) || Michael Jordan ->
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In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face. “The massive campaigns to corprotize, brand, and market superstar athletes as global commodities since the 1980s only highlights the tensions between black athletes and American capitalism. In particular, the growth in the sports industry has lead to hyper-scrutiny of the career profiles and decision making of superstar athletes...” (82) Jack Johnson -> Paul Robeson -> Jackie Robinson -> Muhammad Ali (+ Smith & Carlos) || Michael Jordan ->
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In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face While the political/commercial distinction is fairly reductive, it can help us understand why Jordan and the celebrity athletes who’ve followed him are so often subject to criticism: Contemporary sports stardom is structured by the question “ Can—and should—commercial athletes be political? ” Jack Johnson -> Paul Robeson -> Jackie Robinson -> Muhammad Ali (+ Smith & Carlos) || Michael Jordan ->
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Jack Johnson -> Paul Robeson -> Jackie Robinson -> Muhammad Ali (+ Smith & Carlos) || Michael Jordan -> In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face While the political/commercial distinction is fairly reductive, it can help us understand why Jordan and the celebrity athletes who’ve followed him are so often subject to criticism: Contemporary sports stardom is structured by the question “ Can—and should—commercial athletes be political? ”
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Can—and should—commercial athletes be political?
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In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face While the political/commercial distinction is fairly reductive, it can help us understand why Jordan and the celebrity athletes who’ve followed him are subject to criticism: Contemporary sports stardom is structured by the questions Can commercial athletes be political? Can—and should—commercial athletes be political?
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By the end of Space Jam ...
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Human order is restored. And the (capitalist enterprise of the) NBA rolls on. By the end of Space Jam ...
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By the end of Space Jam ...
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But! Michael Jordan also embraces his connection with stereotyped blackness and uses it to liberate (rather than punish) the film’s most disenfranchised characters. By the end of Space Jam ...
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In “The Black Athlete,” Nicole Fleetwood provides a history of black sports celebrity in order to contextualize Jordan’s impact and understand the immense scrutiny athletes of color continue to face While the political/commercial distinction is fairly reductive, it can help us understand why Jordan and the celebrity athletes who’ve followed him are subject to criticism: Contemporary sports stardom is structured by the questions Can commercial athletes be political? Can—and should—commercial athletes be political? Space Jam does not definitively or coherently answer this question, but it does recognize that Jordan’s celebrity is complex—that it has meaning to both to capitalist enterprise and minority audiences. In Space Jam , Jordan both upholds and challenges structures of power. Perhaps this is why the film is so oddly enduring (Or maybe I’m just trying to justify my love for it?? Whatever the case, it’s definitely a text worth thinking about)
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Here is a question I lose sleep over: Will Space Jam 2 continue the franchise’s strange interrogation of American animation and professional sports’ representational politics? Will it take seriously the differences between Jordan celebrity and LeBron James’ more politically outspoken and divisive star image?
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Or will it be an example of P lastic representation?
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Plastic representation: “a combination of synthetic elements put together to look like meaningful imagery, but which can only approximate depth and substance because ultimately it is hollow and cannot survive close scrutiny[...] Plastic representation uses the wonder that comes from seeing characters on screen who serve as visual identifiers for specific demographics in order to flatten the expectation to desire anything more.” (Warner 35)
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plastic representation: “a combination of synthetic elements put together to look like meaningful imagery, but which can only approximate depth and substance because ultimately it is hollow and cannot survive close scrutiny [...] Plastic representation uses the wonder that comes from seeing characters on screen who serve as visual identifiers for specific demographics in order to flatten the expectation to desire anything more.” (Warner 35)
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Plastic representation: “a combination of synthetic elements put together to look like meaningful imagery, but which can only approximate depth and substance because ultimately it is hollow and cannot survive close scrutiny—it is a disservice to minority media producers and minority audiences. “Plastic is not enough, demand more.” (Warner 37)
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So, with plastic representation in mind, h ow might we assess diversity and inclusion efforts as overt racism decreases*?
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Kristen Warner’s challenge On screen, visually identifiable diversity is not enough . D iversity and inclusion efforts should be evaluated on two major criteria:
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization: “Pursuing and embodying the cultural specificity of characters of color is harder work and requires a shift away from thinking only in positive and negative evaluative terms. Resonant characters that are complex and nuanced may not resemble the respectable characters so often proffered as the social cover for racial integration and as proof that black lives matter.” (37)
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization: “Pursuing and embodying the cultural specificity of characters of color is harder work and requires a shift away from thinking only in positive and negative evaluative terms. Resonant characters that are complex and nuanced may not resemble the respectable characters so often proffered as the social co ver for racial integration and as proof that black lives matter.” (37)
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization: against the positive/negative binary
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization: against the positive/negative binary “What marks a representation as ‘positive’ or ‘negative’? Responses are often aligned with class (good job, education, community minded), behavior (hypersexual, well-spoken, “woke”), or with characterizations of character that either successfully assimilate into normative culture or fail to do so. However, such a scale oversimplifies the complexities of black identity that require audiences, pop-culture critics, and scholars to invest in screen characters through experiencing nuances developed over time and ironically reinforces the stereotypes that operate as industry shorthand.”
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization: against the positive/negative binary Will Reeves in Watchmen ; both a literal hero and very much unable to assimilate
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization: against the positive/negative binary ≠≠≠ But! For Warner, complex characterizations may be found all over the “respectability” spectrum—from quality dramas to reality docu-soaps
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization Amount and permanence of minority jobs created—in front of and behind the camera style.visibility
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Kristen Warner’s challenge Onscreen, visually identifiable diversity is not enough. Diversity and inclusion efforts should be evaluated on two major criteria: Depth of onscreen characterization Amount and permanence of minority jobs created—in front of and behind the camera: “actual progress would involve crafting a more weighted diversity, one generated by adding dimension and specificity to roles, and achieved in tandem with diverse bodies shaping those roles at the level of producing and writing.” (35)
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Against plastic representation?
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Against plastic representation? Black is King can be read as an attempt to pull the plastic out of The Lion King through incorporation of more specific African cultural traditions and employment of African and African American artists. I’m not sure what the attachment to The Lion King (and Disney) actually gets us, but there are certainly a lot interesting things going on in the film.
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Against plastic representation? “Hal Foster reminds readers that Picasso regarded the tribal objects he had acquired as ‘witnesses’ rather than as ‘models.’ Foster critiques this positioning of the Other, emphasizing that this recognition was ‘contingent upon instrumentality’: ‘In this way, through affinity and use, the primitive is sent up into the service of the Western tradition…’ (hooks 368)
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Against plastic representation? Black as King takes seriously the relationship between European and African artistic traditions; through its spectacular settings and costumes (among other things), it denounces appropriative logics that would render African art and culture as artifacts of a “primitive” world
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How might we assess diversity and inclusion efforts as overt racism decreases*?
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Celebrity as a method of evaluation
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Celebrity as a method of evaluation Nicole Fleetwood: “the racial icon—as image, political figure, celebrity, or sports hero—conveys the weight of history and the power of the present moment, in which her or his presence marks the historical moment. To stand apart and to stand for are the jobs of the racial icon.” (10) As her career has progressed, Beyonce has become more and more interested in both wielding and analyzing celebrity power, especially the ways it can impact minority audiences and media producers.
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Celebrity as a method of evaluation Required reading for Wednesday: Introduction and Chapter 4, “The Black Athlete: Racial Precarity and the American Sports Icon” Included in the .pdf but not required: Chapter 3, “Giving Face: Diana Ross and the Black Celebrity as Icon”
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Celebrity as a method of evaluation Nicole Fleetwood: “the racial icon—as image, political figure, celebrity, or sports hero—conveys the weight of history and the power of the present moment, in which her or his presence marks the historical moment. To stand apart and to stand for are the jobs of the racial icon.” (10) Super Bowl XLVII (2013)
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Celebrity as a method of evaluation Nicole Fleetwood: “the racial icon—as image, political figure, celebrity, or sports hero—conveys the weight of history and the power of the present moment, in which her or his presence marks the historical moment. To stand apart and to stand for are the jobs of the racial icon.” (10) Super Bowl 50 (2016) Super Bowl XLVII (2013)
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Celebrity as a method of evaluation Nicole Fleetwood: “the racial icon—as image, political figure, celebrity, or sports hero—conveys the weight of history and the power of the present moment, in which her or his presence marks the historical moment. To stand apart and to stand for are the jobs of the racial icon.” (10) Super Bowl 50 (2016) Super Bowl XLVII (2013)
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Celebrity as a method of evaluation Nicole Fleetwood: “the racial icon—as image, political figure, celebrity, or sports hero—conveys the weight of history and the power of the present moment, in which her or his presence marks the historical moment. To stand apart and to stand for are the jobs of the racial icon.” (10) A commercial stage can be a political stage. And, as Warner would say, the story goes beyond simple visibility. Content and reception can tell us a lot about representational and political progress (or lack thereof). Super Bowl 50 (2016) Super Bowl XLVII (2013)