Many critical frameworks exist to explain prejudice and privilege:
Feminist discourse: focuses on the oppression of women by the patriarchy.
Marxism: criticizes economic inequality perpetuated by ruling elites.
Racism: discrimination based on skin color, ethnicity, or religion.
Bell hooks emphasized the interplay of race, gender, and class, which she referred to as the "white supremacist capitalist patriarchy."
Hooks argued for analyzing these interlocking systems to understand identity and politics of difference.
Film Criticism
Films, due to their accessibility, provide a starting point for discussing race, gender, and class.
Hooks believed films shape and transform culture by informing worldviews.
She critiqued films like Spike Lee's She's Gotta Have It (1986):
Although praised for depicting empowered black women, hooks argued it mimicked patriarchal cinematic practices.
Protagonist Nola Darling is defined by male partners, lacking transformative narrative.
Representation
Films offer reimagined versions of reality, blending fantasy and reality.
Hooks criticized Hollywood for simplistic portrayals of black women, often reduced to stereotypes like "mammy" or "ho."
She advocated for complex portrayals of black womanhood.
Critiqued "decolonised images" that challenged stereotypes but often still perpetuated them subtly.
Example: Characters like Danny Glover in Lethal Weapon and Morgan Freeman in The Shawshank Redemption.
"The Pelican Brief"
Hooks critiqued the portrayal of Denzel Washington's character in The Pelican Brief (1993):
Film posters depicted imbalances in representation, favoring Julia Roberts.
Character's existence depends on white affirmation, lacking personal connections in the narrative.
Discussed broader issues of motivated representation in film marketing.
Capitalism and Motivated Representation
Film marketing teams often perpetuate stereotypes for commercial success.
Examples: John Boyega in Star Wars posters, Chiwetel Ejiofor in Twelve Years a Slave promotion.
Films are crafted to appeal to public imagination, reinforcing ideologies like the "white supremacist capitalist patriarchy."
Hooks highlighted the conscious manipulation of representations to exploit fears and biases.
Oppositional Gaze
Cinema can both enchant and socially condition audiences to accept stereotypes.
Prominent in classical Hollywood as glamour and beauty were coded as white.
Hooks advocated for the "oppositional gaze," encouraging critical engagement with film representations.
Developed notion of becoming "enlightened witnesses" to challenge media portrayals.
Conclusion
Bell hooks' work prompts critical reflection on media representations and challenges dominant ideologies. The focus on intersectionality and motivated representation encourages a broader understanding of identity politics and the potential for diverse voices in media.