The Letter: Reflections of African-American in Film, 1910-1950

Dear Friend,

As you know, film often serves as an important medium in reflecting the currents strides, conflicts and victories of any given society or culture. If art does in fact imitate life, then we must ask ourselves, whose life or story is it imitating?

As with most art, we rely heavily on the interpretations of artistic minds to tell various cultural stories and we give permission to the creative license of embellishment. But when does art cross the line of creative embellishment and turn into a vehicle of bias persuasion used to denigrate and repress an entire race of people? We must analyze the amount of power and yield we give to film makers and their art. Perhaps, we have to restructure our thinking to see art as art and not as real life affirmation or pardon for certain ill behavior and or treatment of others. But if we in fact choose to take art more seriously, as an artistic and slightly embellished version of the truth, we must ensure everyone, racially and culturally has a chance and equal opportunity to tell their version of the truth. Without this proportion, a narrative from the dominantly powered group is then passed along and embedded as the only truth. From that comes the oblivious acceptance of something that could very well be a constructed lie.

The journey of film in the United States is a long and complicated one that does in fact parallel with the struggles the nation has had as well. The idea of America in film before the 1950’s showed the dominant force and superiority of Whites much like society at that time. Blacks were still barely seen on screen and when they were, secondary and exploitative roles were often their only options.

Even in post slavery times, the attitudes of White superiority remained the same and White film makers were determined to showcase their point of view. With limited options, African Americans found themselves either accepting demeaning character roles or continue to deal with the hardships and lack of variety in everyday life.

In Bogle’s Bright Boulevards, Bold Dreams, he describes the unique way in which Black cinema was born. Although African Americans and Black Spaniards had migrated freely to Los Angeles in the early 1700’s, when the film industry took off, people of color were not part of the original rise to fame. When Blacks finally did have an opportunity to enter, they were hard pressed to find decent roles and representation. 

During the first half of the twentieth century, the United States is presented through film as the promised land with Blacks sprinkled in as inferior and even incompetent archetypes whose sole purpose is to amuse or serve their White superiors. These inferior roles can be seen in the mammy or maid roles given to Black women during the 20's and 30's. 

The U.S. presented on film the same scenario it was playing out in society. Black people weren't given the same opportunities to shine and if they did, the same pay, acknowledgment and recognition was not given.

African Americans faced despair as they continued to lose traction in the developing West and were targeted in Hollywood to always serve as the underdog. To make matters worse, certain Black actors such as Stepin Fetch went on the cinematic screen underlining and reinforcing every stereotype about Black people, in particular, about Black men. Bumbling, foolish and illiterate antics won White crowds over but continued to diminish the idea of African Americans as equals. Even those Black actors whom realized off screen the detriment to which they were contributing were swayed by money, success and notoriety to continue to perpetuate White biased ideals on screen.

Bogle discusses in detail that during this era, several Black actors and actresses struggled and faced harsh conditions off screen. Barely getting by, it was not unusual for them to accept demeaning parts or unfair pay as it may have been the difference between going hungry and being able to feed their children.

As we look closely at the archetypes among actors especially women, we can see the birth of cliché and stereotyped roles. Common roles we still seem to cast and can’t move beyond today.

Beyond common roles, there are two common narratives seen through film as well. The two flowing stories through film are that of the superior and the story of the people who refused to be oppressed.

The controversial film, Birth of a Nation sparked tons of reaction and notoriety. It is essentially the story of how the Ku Klax Klan is born and their diligent efforts to keep America pure and civil. African Americans are painted to be hyper-sexual, deviant characters prone to violence and unable to maintain civility.

Films like these continued to perpetuate the stereotypes imagined during slavery. African American men were constantly depicted as lazy, clowning individuals with no clear direction or mind of their own. African American women were either cast in the large, overweight mammy or maid role that was subservient to White women or they were over sexualized vixens willing to steal another woman's husband or participate in promiscuous behavior.

As with any part of culture, when messages are continually delivered without question or qualm, no matter how far from the truth, they begin to be accepting as truth. African Americans, although post slavery were imagined on screen as a sub group of humanity destined to always be inferior. Film and entertainment, being such an influential medium reaffirmed the ignorant mentalities that fueled the mistreatment of Blacks in everyday life.

In response, the emergence of race films takes place. Starring all Black casts as well as being written, produced and directed by Blacks. These stories would tell our truth without the bias of Whites. They would highlight our ingenuity, range of talent and our humanity. These films were targeted at all Black audiences and showcased some of our brightest talent.

It was an opportunity as well to be a small voice in Hollywood proving that films created by African Americans and starring them could sell and did have a market. Unfortunately, most of these films did not survive this era and there are few to look back on for historical reference.

Films such as Nothing But a Man, that showcased Black love and complexities of social and economic classes that were part of Black society as much as they were in White society. Cabin in the sky also displayed Blacks as dealing with the same issues any anyone else. It's a classic good versus evil storyline.

During this era, Blacks worked tirelessly to be seen, heard and recognized for their talent. For some, those dreams would come to life during the race film era. For others not as lucky, such as Dorothy Dandrige, discouragement and disappointment set in as race films tapered off in the early 1950's.

As for myself, I am not sure if I would have survived Black Hollywood in its infancy. My ideologies prevent me from living a life in which I have to conform and take what is given. But then again, I have been afforded opportunities in my life that would have been completely out of reach for someone in that era. I too may have resolved that a better living would be to take a role that may be considered demeaning in order to get screen time and enjoy the art form of acting if that were my passion.

I could definitely see myself as someone flourishing behind the scenes during the race film era. I am very passionate about writing and creating a successful screenplay for Black actors would have definitely been my idea of success during that time.

If we look at film prior to the 1950’s as a foundation for what is today, we can see both the great advancements it has yielded as well as the stunted growth it still experiences in certain areas. It brings to mind more questions about race, responsibility and image. Who is responsible for how Blacks are presented in film? Are we to tell our truth and not allow anyone else to tell our story? Can White filmmakers create a story about Black experience and truly conveys authenticity? Is it possible for an artist to sacrifice their bias beliefs in lieu of telling a story that needs to be heard?

These are the conversations that need to be continued as well as examined. With that in mind, we should strive for equal opportunities in film expression for everyone.