Kern-Foxworth chronicles the stereotypical portrayals of Blacks in advertising from the turn of the century to the present. Beginning with slave advertisements, she discusses how slavery led naturally to the stereotypes found in early advertisements. From the end of the slave era to the culmination of the Civil Rights movement, advertising portrayed Blacks as Aunt Jemimas, Uncle Bens, and Rastuses, and the author explores the psychological impact of these portrayals.
Christopher Lehman traces the evolution of racial caricatures in American cartoons during the first half of the 20th century. He shows how the depiction of African Americans in particular became so inextricably linked to the cartoon medium as to influence its evolution through five decades from the 1900s to the 1950s.
Black Male Frames charts the development and shifting popularity of two stereotypes of black masculinity in popular American film: "the shaman" or "the scoundrel." Starting with colonial times, Williams identifies the origins of these roles in an America where black men were forced either to defy or to defer to their white masters. These figures recur in the stories America tells about its black men, from the fictional Jim Crow and Zip Coon to historical figures such as Booker T. Washington and W. E. B. Du Bois. Williams argues that these two extremes persist today in modern Hollywood
Long hair in the 60s, Afros in the early 70s, bobs in the 80s, fuschia in the 90s. Hair is one of the first attributes to catch our eye, not only because it reflects perceptions of attractiveness or unattractiveness, but also because it conveys important political, cultural, and social meanings, particularly in relation to group identity. Given that mainstream images of beauty do not privilege dark skin and tightly coiled hair, African American women's experience provides a starkly different perspective on the meaning of hair in social identity." --National Women's Studies Association Journal
Act 3, Scene 2
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