Zombie movies are going to be popular as long as dudes fantasize about being in a situation where the most valuable possible trait is the capacity for heteromasculine violence and sociopathy towards the diseased and weak.
HOLY SHIT THIS IS MINDBLOWING
Also as long as white people fear being “infected” by impure blood such that they become less than human. I mean, there’s let’s not overlook the racism inherent in a story whose protagonists (who could and should be of any race) are overwhelmingly white, and in which any minority characters (who seem to be overwhelmingly Angry/Sassy Black People(TM)) generally die well before the end credits roll.
Let’s go a different direction: White FANDOM says this. Example: Left 4 Dead and Left 4 Dead 2. Rochelle was beyond hated, Louis was reduced to stereotypes, Coach was too. Even saying Rochelle’s name was considered a bad move, despite the fact that she was genre-savvy, gained confidence throughout the game, had a unique and custom-built sprite instead of a recycle like her teammates Spy, Scout and heavy Weapons Guy (the only other one being Francis, who was 6’6), quoted Anchorman, and took no shit. She got flirted on by her teammates Nick and Ellis but only responded positively to Francis, the character it turns out she had the most in common with and Fandom Adored (and she became a popular pairing half, but ONLY as a pairing half). Coach and Louis were still reduced, too. All that and make matters worse?
The game was cited as racist for having African American INFECTED.
The first game was set in Philadelphia and the only black character, out of FOUR players so actually not so bad, was also a computer programmer and extreme optimist, which was cool to see. The second game was set in Savannah GA (over half the population is black pop over 350k) and New Orleans (ditto except pop over 1.15 million) and had two black characters (out of FOUR, remember), which is mind-blowing when you realise half the game was black. Seven survivors on the planet that we can verify as canon, and three out of seven are black.
And all you ever hear about is how awesome the gamer chick is, Nellis (aka, shipping the two only surviving white boys that aren’t in a canon ship, and even then, one is openly crushing on Zoey, who is likely with Louis. Two interracial couples? A slash couple reduced to Pair-the-Spare??? Let’s not be TOO ground-breaking, Valve, you’ll traumatise us), and worst of all, “PILLZ.” No-one cares that in a full game, no Bill-death, there are more black characters total much less percentage than most games have in casts of dozens. Or that race is never important, not even the biker guy is mildly racist (in fact, another subversion in that he ONLY hits on the black woman, who responds, and again, it’s because, they both hate stuff.)
White fandom didn’t just ignore the possibility of “tainted” blood being part of why they love zombies. White fandom erased the black characters in their zombie franchises, or reduced them to bare bones.
Agree with this. Fandoms are often the problem rather than the writers (see Breaking Bad fandom hatred for Skylar).
Can’t not cite Night of the Living Dead here, which was a commentary on racism and the race riots of the ’60s, and cast a black man as the lead. NotLD is one of the most influential horrors of all time, and is generally regarded as having set the standard for modern zombies and zombie films.
British zombie media has a pretty poor track-record of racial diversity, but elsewhere it seems to be quite good compared to other genres/areas of media.
Definitely something I’d like to think about more though! I always have time for a discussion like this.
Actor and director LeVar Burton explained Monday on CNN that he follows a particular procedure every time he is stopped by police to avoid a potentially deadly confrontation. He removes his hat and sunglasses, rolls down his window, and puts out his hands to show he is not armed.
“I do that because I live in America,” Burton added.
He’s not exactly known for bad behavior, but even the former host of the children’s show Reading Rainbow, and Star Trek the Next Generation actor, fears he will be mistreated by police because of his skin color.
And this guy has been rich for 30 years.
Let that sink in.
look who’s finally joined!
look who got pushed to the side
would like to point out that this image has the intentions of showcasing the newest additions to the princess line up, so all the older princesses of course aren’t the center of attention.
of course, the placement of certain princesses could be better, but also consider this was probably purely unintentional. or in better words, not a conscious thing.
oh believe me, it is completely possible for racism to be subconscious.
I think it’s fairly obvious that the racial problems would be ammeliorated if they HAD arranged by sequence. That means Mulan would be in front of Snow White- Rapunzel and Jasmine would be in front of Sleeping Beauty AND Ariel- and Tiana would make her way to the front, past Cinderella and Belle.
I mean honestly it’s sort of laughable to look at this and decide that it’s arranged to display newer in the front, and older in the back. It’s actually only relevant to the frontmost two characters and no one else. So might want to come up with a better reason to justify racialized placement if you are really dead set against calling it out, since it’s harmful whether or not it’s “intentional.”
Especially since that’s really a consciousness in and of itself. People who care about this stuff consult others and listen to what they say. Very easily, anyone with an iota of understanding of what usual critiques against the princesses are, would have noticed that.
unintentional my ass. Shouldn’t all of the new ones be front and center, and old guard back right and back left? Don’t look that way..I see mighty white all front and center.
Yep, & if we’re going by newest that would mean Tiana standing next to Merida or Rapunzel. Instead she’s all the way in the back.
I fixed it!There. That’s what it would look like if this was actually a case of chronological placement.
^ Yes, I like this. I like this very much.
(But I still hate all of these redesigns.)
Why Dove’s “Real Beauty Sketches” Video Makes Me Uncomfortable… and Kind of Makes Me Angry
So this video started going around my facebook today, with about a dozen of my female friends sharing the link with comments like, and “Everyone needs to see this”, and “All girls should watch this,” and “This made me cry.” And I’m not trying to shame those girls! I definitely understand why they would do so. And I don’t want to be a killjoy. But as I clicked the link and started watching the video, I started to feel a slight sense of discomfort. I couldn’t put my finger on why that was, exactly, but it continued throughout the whole thing. After watching the video several more times, I have some thoughts…
Yep! Exactly my thoughts.
when we were beginning the journey of making this record we wanted to find some inspirational images. we came across the punk and monk image on the Internet and it really solidified what we were trying to get across on the record- the idea of old and new clashing. tradition and change coming together. there was something striking about it. obviously this is an image that means a lot to many people- we felt like we wanted to be part of this conversation. these kids represent the youth, change and irreverence that we hope our record is listened to with. at the end of the day we just want to take the rules and start all over with save rock and roll anyway.
shout out to Roger Stonehouse for capturing the original photo and allowing us to share it with the world
Save Rock and Roll out April 15th and 16th worldwide, preorder here.
This picture’s of kids in Burma, and showed up on my radar- and considering the lack of exposure Burma gets, imagine my surprise at this showing up on the radar! That said, clashing of the old and new?! No, that’s a horrible misinterpretation. There’s no “old” here. There’s only the “new”. There IS only “new”. The monk kid? That’s not old- that’s new. I don’t want to end up sounding RAGING ANGRY RAWRR but this is a picture from Burma, my homeland, and misrepresentations of my homeland hurt me. Immensely. I’m going to just copy/paste something I’ve written about this before, if no one minds:
“The image is often captioned with something akin to “cultural clash between modern and traditional lifestyles” and the ability of two different people who live different lifestyles to live together peacefully, and while it can and often is true, it’s a somewhat stereotypical misreading of the issues and lifestyles in Burma. Punk rebels have been a major underground resistance force in the country, as have graffiti artists, both perhaps perfect examples of ‘modern’ rebels, but Buddhist monks have also always been catalysts for change. See both the 2007 “Saffron Revolution”, anti-government protests originally started by Buddhist monks, and the monk protests over political prisoners in the war against ethnic rebels in 2011.
Both of these boys very likely have much more in common than you’d guess. And this really is a beautiful picture.”
Considering the amount of stuff kids- these kids, and the ones like them- have endured, and the power they have in them, it seems more than a little bit weird that someone were to use them as a symbol of youth resistance and then not mention who they are, by the way. Don’t you think?
I was hoping someone would blog about this. I was really uncomfortable when I saw it earlier…
You can not be serious
can we ruin his life please
Uggggggggggggggghhhhhhhhhhhhhhhhhhhhhhhhhhhh. I am about ready to destroy everything he loves.
ETA: I just checked his witheringly terrible instagram account and he has put up his business address. So I guess we could ruin it a little by making use of that address?
Can the camera be racist? The question is explored in an exhibition that reflects on how Polaroid built an efficient tool for South Africa’s apartheid regime to photograph and police black people. The London-based artists Adam Broomberg and Oliver Chanarin spent a month in South Africa taking pictures on decades-old film that had been engineered with only white faces in mind. They used Polaroid’s vintage ID-2 camera, which had a “boost” button to increase the flash – enabling it to be used to photograph black people for the notorious passbooks, or “dompas”, that allowed the state to control their movements. The result was raw snaps of some of the country’s most beautiful flora and fauna from regions such as the Garden Route and the Karoo, an attempt by the artists to subvert what they say was the camera’s original, sinister intent. Broomberg and Chanarin say their work, on show at Johannesburg’s Goodman Gallery, examines “the radical notion that prejudice might be inherent in the medium of photography itself”. They argue that early colour film was predicated on white skin: in 1977, when Jean-Luc Godard was invited on an assignment to Mozambique, he refused to use Kodak film on the grounds that the stock was inherently “racist”. The light range was so narrow, Broomberg said, that “if you exposed film for a white kid, the black kid sitting next to him would be rendered invisible except for the whites of his eyes and teeth”. It was only when Kodak’s two biggest clients – the confectionary and furniture industries – complained that dark chocolate and dark furniture were losing out that it came up with a solution. The artists feel certain that the ID-2 camera and its boost button were Polaroid’s answer to South Africa’s very specific need. “Black skin absorbs 42% more light. The button boosts the flash exactly 42%,” Broomberg explained. “It makes me believe it was designed for this purpose.” (via ‘Racism’ of early colour photography explored in art exhibition | Art and design | guardian.co.uk)
Jean Paul Gaultier couture.
NO NO NO NO NO NO NO NO NO NO.