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| Available on May 6, 2011 |
Though no human has ever donned a suit and actively engaged criminals and pursued those who do evil to others with a tenacity that borders on the obsessive, for two hours Tim Burton's film had us convinced it was possible.
With that story on the mind comes the announcement that May 6, 2011 will see the release of Hollywood in Blackface: Black Images in Film from Night of the Living Dead to Thor.
Find out how Hollywood has created Black Fictional Images through film that have helped bolster Black Run America (BRA) in the process by manufacturing positive images of Black people through the roles of Will Smith, Morgan Freeman, Denzel Washington, Bill Cosby, Samuel L. Jackson and a whole host of other Black thespians.
Playing roles in films such as 2012, The Core, Terminator 2: Judgement Day, The Cosby Show, and a whole host of other movies that portray Black characters in vocations that have about as much grounding in reality as a white guy dressing up as a bat and fighting crime, Hollywood in Blackface will go where Donald Bogle's book Toms, Coons, Mulattoes, Mammies, and Bucks dared not dread.
You've read about many of the Black Fictional Heroes at this site; prepare for 60 percent new material never before published, including in-depth analysis on Morgan Freeman, Will Smith, Samuel L. Jackson, and Denzel Washington's roles. Learn why Disney has spent the past 20 years making films with a cast that would make the United Nations blush.
Learn why all zombies must include an ass-kicking Black zombie killer. Find out why all movies set in medieval Europe must include a Black character, and why the inclusion of a Black Nordic God continues that grand tradition. Learn why Tyler Perry is a far superior film-maker than Spike Lee and prepare to understand why depictions of non-whites as savages is a major no-no (even in fantasy films).
Hollywood in Blackface will contain the ultimate dissection of how films have helped enable the Black Run America (BRA) agenda by conditioning moviegoers of false and wholly incorrect views of Black people in film.
21 comments:
Night of the Living Dead was not a Hollywood film, but rather a low-budget independent film.
Don't follow up your best entry with a fluff piece. You struck gold with "Atlanta" and you know it.
The multiculturalism narrative, in which everyone can get along and we are all the same people with different color skin, is a half ass attempt at papering over the fact that words like "equality" and "justice" were rallying slogans for the up and coming middle class in Enlightenment Age Europe to justify revolution against an incompetent ruling class. When they were realizing their class identity, defining their ideology, and laying the blueprint for overturning the ruling class, they clearly did not think that those rules applied to African slaves or their progeny.
Now you have to remember that Hollywood is in this business of film to make money. It's obvious that it makes more money by selling the multiculturalism narrative. Whites feel good about living in a special and one of a kind society, that they uh created, and blacks feel good about inclusion. Profit maximization achieved.
SBPDL, love the site but, for some reason, I'm guessing you aren't exactly Pauline Kael when it comes to intelligently assessing cultural trends in cinema. Why do I have a feeling that your book will end up tossing genuinely great films into the shitpile with p.c. Hollywood crap, as if there's no difference?
This is what I have been waiting for. Ebook or not, I will buy this book. I love the cover. Though while it is too bad you had to make it subtle instead of shocking and attention-grabbing, I still agree with what you said in the last article about trying to keep this operation as clean as possible to minimize the amount of dirt the DWLs will try to swiffer out once they become aware of you.
I am also glad to finally post from my google account. You are right, at the very least you deserve that.
The funny thing: if you read anti-racist sites like Racialicious, they say the EXACT OPPOSITE.
Is the Hollywood sign copyright? I don't know if one needs permission to use it.
I am excited about this book. I just hope it will be in book shops (if there are any left, Angus and Robertson were selling 75% off not just their books but also their shelves and trolley last time I went there).
Should be a page turner! Can't wait to read it.
-Ulick Varange
"if you read anti-racist sites like Racialicious"
I'd rather have my fingers pulled out.
http://www.youtube.com/watch?v=145V6wYOwXA
"Why do I have a feeling that your book will end up tossing genuinely great films into the shitpile with p.c. Hollywood crap, as if there's no difference?"
Because there is no difference *if* the point is to illustrate how movies help to create and maintain BRA.
OneSTDV,
Racialicious attacked "Precious" and has published articles critical of Tyler Perry. They desire EVERY film to have a cast of 90 percent or more non-whites.
Like your famous article on "White Dog", Racialicious would have Hollywood produce films that go far beyond what that movie tried to say.
It's funny; Spike Lee is now attacking Tyler Perry, though he is casting Black people in roles that no other Hollywood studio or film would ever consider.
As to the question of copyright, I got the picture off of Wikipedia Commons. If you notice, the white Hollywood sign is turning "Black"...
I'm not sure what else could be considered eye-popping. I contacted Marvel Studios about using pictures of Idris Elba from "Thor" but they wanted copyright fees and me to sign a licensing agreement of some sort.
As to this question:
"SBPDL, love the site but, for some reason, I'm guessing you aren't exactly Pauline Kael when it comes to intelligently assessing cultural trends in cinema. Why do I have a feeling that your book will end up tossing genuinely great films into the shitpile with p.c. Hollywood crap, as if there's no difference?"
It won't be Roger Ebert - he trashed my favorite movie "Thursday" calling it the most racist movie ever made - and I won't be praising such classic films as "Lottery Ticket", "Soul Plane", or "Coming to America".
You are correct in saying a number of good movies do exist (if you can find it, track down the Martin Sheen movie made for HBO called "The Guardian") that will not be discussed.
This is about movies that have helped condition the American film viewers of Black Fictional Characters, with a few TV shows tossed in for good measure.
Meanwhile, in Israel:
http://www.ynetnews.com/articles/0,7340,L-3985140,00.html
"Dozens south Tel Aviv's residents gathered at the Hatikva neighborhood on Monday to protest what they referred to as the State's failure to address the flow of African migrants to the area."
"Some protestors said the refugees "chase our daughters," while others called the Africans "beasts" and claimed they "spread diseases, drink and steal."
"The conference was held just a few days after a migrant from Eritrea allegedly murdered his pregnant wife in the neighborhood."
"Today a refugee stole the purse of an elderly woman I take care of," neighborhood activist Pnina Cohen said. "They walk around in robes with nothing underneath and chase our daughters. This is a war we must wage, or else we'll lose our home."
(...)
Worth repeating, "This is a war we must wage, or else we'll lose our home."
Hollyweird may have conditioned whites to believe that blacks are these nice, polite, peaceful,law abiding, intelligent, super heroes, but the video clips from Youtube, and other internet cites, like SBPDL portray a wild vicious segment of the US population straight out of hell, blacks. These videos of out of control blacks committing horrendous crimes in full view of huge crowds of eyewitnesses is undoing all that Hollyweird has been able to do in conditioning whites to believe that blacks are just the same as whites and that we can all just "git along" with each other. Thank God for ,in some cases free, video phones, cameras, and surveillance videos. It's all undoing Hollyweird's mega money projects shown on TV and at movies.
It won't be Roger Ebert - he trashed my favorite movie "Thursday" calling it the most racist movie ever made
Not quite what he said, although he did object to what he perceived to be racist content. His original piece on the film is here:
http://tiny.cc/bUyU4
As for Thursday itself, I happened to see it a few years back, and the only thing that "offended" me was the fact that it was yet another in a long line of shitty, fifth-rate, pseudo-hip Tarantino knock-offs. There are plenty of genuinely good films with what we might consider to be un-p.c. racial content -- no need to go prowling through the trash bins of derivative indie cinema.
Because there is no difference *if* the point is to illustrate how movies help to create and maintain BRA.
Not every film is made with the same purpose in mind, and there are still plenty of films made well outside the Hollywood studio system -- films that, in some cases, have little (if anything) to do with pushing Hollywood's feel-good agenda. The central premise of SBPDL's book would be far better served by analyzing big-budget mainstream films that clearly aim to propagate and legitimize Hollywood's silly multiculturalist fantasy.
Simply lumping in any film from 1968 to the present that happens to feature black characters in semi-prominent roles -- including films made by genuine talents, long before the dogma of p.c. Hollywood was commonplace -- would merely undermine what SBPDL is doing. And I like what SBPDL is doing.
I will say this, though: regardless of how heavy-handed he can be or how he comes off in the media, there's no way in hell that Spike Lee is a lesser filmmaker than a hack like Tyler Perry.
Last anon,
The book focuses only on movies that were or were meant to be blockbusters (a lot of movies with Black actors in roles that reality fails to replicate have bombed).
I know that Night of the Living Dead was not Hollywood produced, but it set the tone for all zombie movies to follow. Plus, Hurricane Katrina showed us that Black people won't respond well in a natural disaster.
A zombie attack is just another form of natural disaster.
"long before the dogma of p.c. Hollywood was commonplace"
BRA started with films like "To Kill a Mockingbird" (1962) and "Twelve Angry Men" (1957). Poor non-white victim targeted by fat sweaty bad white people and saved by the tall, handsome, shiny White hero.
BRA started with films like "To Kill a Mockingbird" (1962) and "Twelve Angry Men" (1957). Poor non-white victim targeted by fat sweaty bad white people and saved by the tall, handsome, shiny White hero.
Yes, but the BRA agenda was far from commonplace back then. Besides, that scenario wasn't entirely out of the realm of possibility at the time: the cudgel of some black defendant being taken up by a crusading white knight, with a town full of angry whites ready to rip the bastard apart (especially if it was a rape charge).
I'd have to say that I agree more with SBPDL's definition: movies that place black characters in patently unrealistic situations (saving the world, etc.) for the purpose of promoting that all-too-familiar agenda -- something that I think has only become prominent in mainstream blockbuster cinema over the last thirty years or so.
Looking forward to the book.
last anon,
Yes on reflection i think you're right. What i'm describing is really the genesis of SWLs - shiny white liberals.
The disastrous consequences of what the SWLs did, their refusal to admit they were wrong when it became obvious and their subsequent decades long cover-up of the truth turned them from SWL to DWL and created BRA.
http://www.amazon.com/Toms-Coons-Mulattoes-Mammies-Bucks/dp/082641267X
So you aren't going to give a fair review?
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