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Friday, Aug 12, 2011 3:20 PM UTC2011-08-12T15:20:00Zl, M j, Y g:i A T

Why Hollywood keeps whitewashing the past

"The Help" is just the latest movie to sugarcoat oppression by painting enlightened white people as heroes

A scene from "The Help."

A scene from "The Help."

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[EDITOR'S NOTE: This piece contains spoilers; read at your own risk.]

American historical films are forever refighting old wars, congratulating themselves for being on the right side, and encouraging viewers to pat themselves on the back for being on the right side, too. They view the war from the general’s tent up on a distant hill and imagine that they’re right in the thick of it. That’s how Paul Haggis’ “Crash” swept the Oscars in 2006 — by serving up a contemporary story of Los Angelenos who said and did brazenly racist things in public constantly, as if it were 1967 and everyone was wearing love beads, Afros and hard hats. The characters seemed crude and primitive, lacking in self-awareness, unenlightened; this made them easy to label, judge and dismiss. A variation on this strategy has enabled another race drama, “The Help,” to become an instant hit, a likely Oscar contender, and yet another reminder that when mainstream cinema depicts discrimination, it tends to ask the same two questions: “How did this affect white people?” and “Aren’t you glad you’re not bigoted like the creeps in this movie?”

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Matt Zoller Seitz

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Wednesday, Feb 22, 2012 7:30 PM UTC2012-02-22T19:30:00Zl, M j, Y g:i A T

What everyone gets wrong about Jeremy Lin

The NBA star does not transcend race. Instead of upending stereotypes, he owns them -- unapologetically

Jeremy Lin

Jeremy Lin  (Credit: Reuters/Adam Hunger)

Last week, I wrote a Salon essay about my experiences with racial bullying growing up in northern Minnesota; particularly, a pair of girls who decided to sing “ching-ching-a-ling” and pull their eyes into slits when they saw me in seventh-grade gym class. It was painful to write, and — from the responses I received — pretty painful to read, especially by anyone who had experienced bullying. Thus, it felt almost as if counteracting forces in the universe were acting to promote Jeremy Lin’s farm-team-to-bench-to-global-superstar ascent in the basketball world. Finally! Being Asian American was cool, not something to be bullied over.

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Marie Myung-Ok Lee’s essays have appeared in The New York Times, The Atlantic, The Guardian, The Washington Post, and she is regular contributor to Slate. She is the author of the novel Somebody’s Daughter and teaches creative writing at Brown University. Find her on Twitter @MarieMyungOkLee and on FacebookMore Marie Myung-Ok Lee

Tuesday, Feb 21, 2012 6:38 PM UTC2012-02-21T18:38:00Zl, M j, Y g:i A T

The real problem with honoring Whitney

The uproar over Christie's order to fly the flags at half-staff was about race and gender, not drug addiction

christie_houston (1)

 (Credit: AP)

If any single political figure in America is a flesh-and-blood personification of a Rorschach test, it is Republican New Jersey Gov. Chris Christie. In almost every way, he raises vexing questions which ultimately say more about us than they do about him.

Is he, for instance, refreshingly authentic or just downright offensive? Is he regular-guy fat or too obese to be president? Is he a rare moderate Republican who is at least willing to discuss legalizing gay marriage or is he a standard GOP bigot who is deftly maneuvering to prevent such legalization?

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David Sirota

David Sirota is a best-selling author of the new book "Back to Our Future: How the 1980s Explain the World We Live In Now." He hosts the morning show on AM760 in Colorado. E-mail him at ds@davidsirota.com, follow him on Twitter @davidsirota or visit his website at www.davidsirota.com.  More David Sirota

Tuesday, Feb 21, 2012 4:30 PM UTC2012-02-21T16:30:00Zl, M j, Y g:i A T

“Key & Peele’s” edge-less, post-racial lie

A Comedy Central smash is too busy soothing white, liberal consciences to actually be funny

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Jordan Peele and Keegan-Michael Key in "Key & Peele"

Jordan Peele and Keegan-Michael Key in "Key & Peele"

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Comedy Central’s new sketch show “Key & Peele” (Tuesday, 10:30 p.m. Eastern) is neither funny nor daring. And since these are the show’s two goals, it has failed miserably.

“Key & Peele’s” deep flaws have gone unnoticed by the majority of reviewers, and I suspect this is due to the attractiveness of the package: Comics Keegan Michael Key and Jordan Peele are black folk who, like most white critics, want to move past race. In our sincere but hasty desire to actualize this mythical post-racist world, Key and Peele are the jackpot. Two light-skinned black men, middle-class in mannerism, who, like our black president, have white mothers. (It’s also been popular with viewers; the show was Comedy Central’s most-watched premiere since 2009, and was just picked up for a second season.)

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Thursday, Feb 16, 2012 3:26 PM UTC2012-02-16T15:26:00Zl, M j, Y g:i A T

Rooting for your own kind

Jeremy Lin shows that we like to cheer for people who look like us -- and there's nothing wrong with that

Why so excited?

Why so excited?  (Credit: Reuters/Mike Cassese)

Lin-sanity has broken out all over the world. The kid nobody in the NBA wanted, from an ethnic group about as associated with the NBA as bullfighters are with People for the Ethical Treatment of Animals, had just broken Shaquille O’Neal’s league record for the most points in his first five games as a starter. Adoring fans are holding up signs saying “To Lin-finity and beyond.” The Lin-ternet has broken under the strain of millions of tweets, many of them featuring even worse puns than “Lin-ternet.” Sports Illustrated put him on its cover.

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Gary Kamiya is a Salon contributing writer.  More Gary Kamiya

Tuesday, Feb 14, 2012 9:07 PM UTC2012-02-14T21:07:00Zl, M j, Y g:i A T

My debate with Charles Murray

His genetic fatalism made it hard to find solutions to the dangerous American class divide we both lament

Charles Murray

Charles Murray

I debated Charles Murray today on WBUR’s “On Point” with Tom Ashbrook. You can listen to it here.

I shouldn’t admit this, but I almost didn’t review Murray’s “Coming Apart: The State of White America, 1960 to 2010.” I told my editors it was just a mashup of his two most infamous books, “Losing Ground” and “The Bell Curve:” Welfare programs make poverty worse, not better, and social support can’t help the poor and struggling rise up, anyway, because they’re low-IQ losers. Only in this book, Murray confined his analysis to poor and struggling white people, to defuse charges of racism that greeted his two earlier bestsellers. I decided to write about the book anyway, but I thought it would be of little interest except to wonky people like me.

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Joan Walsh

Joan Walsh is Salon's editor at large.  More Joan Walsh

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