Pop Video: Michael Jackson's "Thriller" and "Race"

- summary/synopsis of Thriller music video

- "in western society, white has been generally portrayed as a norm against which blackness is positioned as aberrant- threatening and perhaps even monstrous"

- 1950s small town America and horror movies

- the "other" in society

- in the late 70s came "crossover films"- stories appeal to black/white which included one/two big named black actors and white sensitivities and values

- "the wiz" to the "wizard of oz"

- Mercer reads the lyrics as sexual

- zombies= asexual

- film, dream, reality

- the black man is a monster pretending not to be

- word "zombie" originates in African voodoo

- terrorizing the neighborhood (supernatural vs. gangs)

- not scary bcd they're black, but because they're zombies!

- presents him as nice all-American boy to monster 3 times

- exclusion of black artists on MTV and B movie horror films and civil rights

Kara Walker- No/Yes/?

Right from the first few lines of this article, it is glaringly apparent that Kara Walker is a "touchy" subject. The narrator, Howardena Pindell, details how her attempt at encouraging a dialogue about Kara Walker's work was harshly criticized and she was told to "back off". The writer had openly discussed the use of negative stereotypes by African American artists in South Africa, and she was criticized for refusing to jump on "the pro-negative-racial stereotype- Kara Walker bandwagon".

In 2007. the mainstream media enthusiastically praised Kara Walker's work, but it was clear that many individuals were upset that any negative press on her work was dismissed. Cynthia Navaretta, who worked for Midmarch Art Press, chose to tackle the heated issue and invited artists, writers, critics, art administrators collectors, and curators to submit a commentary to composite into a book. This added fuel to the fire as many people refused to participate (or were told by others not to). Ultimately, it became a collection of "non-pro" commentary essays, accompanied by quotations from the mainstream media and an appendix of historical information. In addition, a blog was built for the purpose of an open, anonymous discussion of Kara Walker's work.

The Director of the Walker Art Center in Minneapolis, Cathy Halbreich, was quoted saying that Kara Walker was "heroic under the criticism" and thought the entire issue to be "generational". Howardena Pindell then presents a claim of the "ways" of white commentators in the art world: "I am white and I am in charge and what I say goes about your life experience". She then provides an account of when she was "almost thrown out" of the Parrish Museum in Southhampton in 2008 because she was not white. More so, Pindell mentions the existence of KKK and other hate groups in Long island, and the assumed "white privilege". (I, personally, am baffled at her showcase of stereotyping white people in this article--isn't this racism in a sense?)

Next, Pindell discusses Kara Walker's work and what is essentially causing the controversy and strong emotions. She quotes Kara Walker's claim that she does not make work about reality, only images and creating fictions. Pindell appears to be angered by her statement, explaining that the work is far to disturbing and violent to be treated as merely "images".

A brief history and synopsis of paper and shadowgraphy is provided for the reader, as this is concretely Kara Walker's medium. It is mentioned that humans have an "enduring fascination" with shadows as they are thought as virtual bodies or reflection of the soul.

Breaking the Mold: The Meaning and Significance of Stereotypes in Popular Culture

The article breaks down the term "stereotype" into three parts. The first defines "stereotype" as a "standardized conception or image of a specific group of people or objects". It then provides an analogy: stereotypes are "mental cookie cutters". This is to say that humans enforce a simple pattern upon the complexity of a mass and assign "a limited number of characteristics to all members of a group." When applied to humans, these characteristics involve age, sex, race, religion, vocation, and nationality.

The second part of the breakdown speaks of the commonality of the belief and conception of the specific stereotype amongst a group. According to the article, we all have "narrow images of people, places, or things which are unique to our personal outlook". However, it is important to study stereotypes in a cultural mindset rather than an individual one.

The third part states that "stereotypes are direct expressions of beliefs and values". A stereotype plays the role of a tool in understanding the underlying values society holds, and how popular thought came to be. Moreover, it is essential to study how popular thought evolves over time within a society, and what springs about the evolution.

Cultures can be formed using stereotypes, as they endorse moral or immoral actions based upon their own assumptions and beliefs. It is apparently inescapable, as stereotyping is "a natural function of the human/cultural mind". However, stereotyping can be sometimes useful in the means of grouping and classifying (freshman vs. seniors). This is also useful in storytelling, as conventional characters do not need as much time spent on an explanation of who they are. With the existence of a stereotype, the audience already understands the character and more time can be spent on the plot line or action of the story.

More so, there are "countertypes", which are positive stereotypes. A countertype essentially promotes "good" emotions and associates a group with socially approved characteristics. An example of the movie Shaft is provided, for it acted as a countertype to the negative stereotypes of African Americans by presenting a strong and intelligent black man protagonist.

The article continues with a breakdown of the term "sountertypes", with the first point reminding the reader that a countertype is still a stereotype. This entails that the viewpoint is still oversimplified, and cannot be accepted at face value. Next, stereotypes can often be found beneath the surface layer of the countertype, suggesting that stereotypes are truly difficult to alter or shake.

There are two outstanding dangers of a stereotype. The article explains that because stereotypes are frequently negative and based a culture bases its actions on beliefs and values, stereotypes can be associated with "actions of an exceedingly negative and harmful nature". This is seen when looking at history, with the 1950's Civil Rights Movement in America, the Japanese American concentration camps of the 1920s, and the years leading to the Holocaust with Germany's viewpoint of Jews. The second danger is the event of stereotypes lending themselves to being mroe than a description but also a a predetermined sketch of how a group is to behave and perceived. Ultimately, the members within the group which is stereotyped begins to believe in the stereotype assigned to them. This is illuminated with the phrase "live up to their stereotypes", as it encourages them to act like the images a culture already has formed for them. Such an occasion of an "internalized stereotype" disables any freedom from a narrowness.

At the conclusion of the article, four characteristics of stereotypes developed by the journalist Walter Lippmann are presented. According to Lippman, stereotypes are:

1) Simple, and often simpler than reality. This perhaps exists to help society understand and organize itself.

2) acquired secondhand and is passed on. The stereotypes are not gained from an individual's own direct experience.

3) erroneous. This is to say that all stereotypes are ultimately false.

4) resistant to change.

ack Nachbar & K. Lause, "Look! Up in the Sky! (And Right Next Door): Popular Heroes in America"

This article examines the history, concept, and importance of the hero in popular culture. It begins by telling the story of Peter Parker, or as most know him, SpiderMan. The narration tells of the average American citizen becoming someone more than spectacular and balancing the two persons simultaneously. He utilizes his special and unique skills/"spider senses" towards the good of society- he is defined by his heroic acts. In this way, his character stands as an ultimate example of the great American citizen/true American hero: "the implication is, of course, that each of us is capable of achieving similar goals- anybody born in America can grow up to become president of the United States of America." The heros of our contemporary culture can be any one of us, or our neighbors.

The article continues by delving into the concept of the American hero. The American hero embodies two values at the same time: "achievement and humble origins, power and humility, special skills and ordinary problems." These are the ideas/ideals of the individual American citizen living in a democracy. The article provides as examples Abe Lincoln, Teddy Roosevelt, and Thomas Edison. These individuals "provide us with concrete images of what we all can strive to become". It goes on to make (what I deem) an interesting point: "...Heros represent a perfected member of a culture who is a source of pride to that culture because it is the culture itself that has produced such perfection." i have interpreted this as stating that the American hero is the ultimate Pro-American.

According to the article, there exists two types of heros. The first one is the "citizen hero", who embodies the mainstream and traditional values of the community. The second is the "rogue hero" who stands in contrast by representing the beliefs/values of individual freedom. However, both types are exceptionally gifted in some way as the "hero must possess qualities the culture values highly." After all, the hero is the defender of the community.

Nick Lacey, "Nazi Propaganda"

The article opens with a clear definition of propaganda, explaining that its main purpose is to persuade its audience to a particular political, or religious, point-of-view. It tries to convince that the presented point of view is the correct one and will essentially enlighten and benefit the targeted individual. In history, the individual is treated as a member of a nation, and therefore one of the whole of the mass.

Propaganda, in its definition, is unarguably biased, but can be successfully perceived as reality if believed in, as Lacey writes that "the line between information and propaganda is very narrow". The driving difference is whether its intention is to inform or persuade. This persuasion is accomplished by means of an intellectual and emotional process, attempting to grab the individual as intimately as possible.

Propaganda was crucial for the Nazis during World War II. Joseph Goebbels was deemed the Head of the Ministry for Popular Enlightenment and Propaganda, and is acknowledged as a key player in the mobilization of Germany into the Holocaust. Tactics included presenting a yearning for "the good old days" and meetings on a massive scale. This was showcased in Leni Riefenstahl's Triumph des Willens (Triumph of the Will). The film demonstrated the visual power of propaganda and its emotional impact. The article dissects the film by providing the reader with a screenplay of the opening sequence, presenting the propaganda word by word, and then is followed with an analysis.

The music and iconography signifies a nationalism and militarism, and the old-style lettering of the title suggests a longevity of Nazism. There is a play with angles, positioning the viewer below at first, and then at a "privileged" eye-level. As we "fly" through the clouds with Hitler's plane, we are placed in an exclusiveness, but also are faced with a god-like display of Hitler. When the plane lands, Germans are seen waiting in anticipation for their Fuhrer, and they cheer when he is in view, behaving as if it is indeed their savior.

The article explains that Goebbels preferred feature films because the audience was unaware of the fact that they were watching propaganda. Th films were specifically designed to change attitudes unconsciously.