Race, Ethnicity, and Culture in "Bamboozled"

PLEASE STOP SAYING THAT WORD!

DERACINIZED STEREOTYPES IN BAMBOOZLED

            As Minstrelsy became the foundation of the theater of the oppressed, it emerged to culturally represent Blacks by whites declaring and defining their identities. Regardless of Pierre’s attempt to satirize the separations in culture due to an on-going political struggle for blacks, his success only continues to “misrepresent black people”. Stam and Spence enforce this structure by outlining the references we call ‘racism’ and ‘representation’. This leads to the value that has been placed on the use of the N-word to define culture stereotypes, a negative persona, which was then represented onstage to enforce this identities as created and upheld for decades. What began as theater of the oppressed when Minstrelsy flourished, has transformed into personas that we have begun to stand by and uphold. More specifically, I will argue that as the Black identity is created and represented in the film, it also encourages entertainment over cultural ideals.

            Beginning with the term racism, they define it as “the generalized and final assigning of values to real or imaginary differences, to the accuser’s benefit and at his victim’s expense, in order to justify the former’s own privilege or aggression.” (879) In other words, there is an ‘otherness’. This designates how we see and portray certain groups of people. Stam and Spence heavily argue that racism is a result of the colonization process. Is it possible that theater of the oppressed exists because the victims of racism have identities forged for them? Now to construct all the evidence that overlaps this concept from the film, Bamboozled. Much of the distinctions of otherness were portrayed cinematically as dominant characters were given strong camera shots that put themselves into full, unobstructed, solid, and well-lit spaces. Their body language (along with camera angle) gave them strength. Whereas, weaker and oppressed characters were given poor quality shots in which the shot appears shaky or blurry, dark shadows, and images cut off at certain points. Some characters were dominant enough to be given the camera shot from their perspective; to see what they see. This attributes to one of the thematic devices of the film that the essentials have been forgotten and are now being focused on the aesthetics. Such remarks suggests that ideals have been structured for the sake of aesthetics. Pierre recounts, “The network does not want to see dignified blacks from the streets.” Pierre’s initial purpose of the show was to make the audience feel uncomfortable; a satire would provide a “racial healing”. By poking fun at minstrelsy, the show will poke fun at the dominating stereotypes and racial cultures that have been built for decades. In an effort to wake America up and for the audience to get offended, Pierre is determined that this will change the way things are. Dunwitty is the epitome of assigning generalized values to the Black culture. His relationship with Pierre defines the differences between dominant culture and oppressed culture. His assumes that his own use of so-called “black slang” and his preferences of famous black people have given him the right to define what being “black”. In his statement, “I am more black than you” begins to take away color of skin and pronounce that it is a character, identity, a persona that is adopted by cultural stereotypes. He takes away the essential part of being “black” and converted it to an aesthetic of “blackness”.

Representation of black people in the film is done on several racial stereotypes that have been constructed. The portrayal of characters within this film idolize the racial stereotypes that have been built for decades. A college roommate from North Carolina once announced that “I won’t call you a N***** unless you act like a N*****.” The use of the word is not only profane and offensive but has been the crux of an identity that has been placed upon Black people. Pierre attempts to satirize those representations. However, the response to his show was more positive than he expected. It’s aesthetic and entertaining value was more pleasing to the audience than its satirical message. As protestors began to line up and audience members donned their own black-face, it appeared that the satirical message never came through. The representation of black people fit into the world we have constructed and the audience was oblivious and ignorant to its racist elements. Protestors disagreed with this representation for it gave a re-birth to their oppression and they deemed it as highly racist material. These representations get escalated as the characters support either accusation against the “Millennial Minstrel Show”. One group, in particular, dislikes what the show represents and takes action. In the saddening murder of Manray in an attempt to send a message, they don their own black face and use violence to make a stand against racism. However, racism is and ally and a result of colonialism, and that the “logic of racism leads to violence and exploitation.” (879) Their own use of the N-word represents the racial stereotypes that have been thrust upon them. Only the values they have assigned are because they are fighting back against the accuser. What of their claims against the “Millennial Minstrel Show”? Nearing the climax of the film and Manray’s refusal to continue in this charade, audience members have appeared in black-face and have testified that “I am the biggest N***** here.” The use of the N-word in Bamboozled doesn’t fall short. Whether in casual conversation or used by whites in declaration, it has been given entertainment value and abused what it means to be black. Pierre’s father pokes fun at black people because that’s what sells Beyond being a sell-out he reports, “every N***** is an entertainer.” Actions become justified because that is what is representative of being black. In a contentious meeting, the dialogue suggests that the representation is built by the racist values placed upon black people. Dialogue as follows:

PIERRE: What is black? We’re not saying anything about African American culture. White people just don’t understand. It’s just nice, wholesome fun.

MARKETING CHAIR: The show can’t be racist because Pierre is black.

SLOAN: He’s not black, he’s a negro.

Sloan reports that the relics of the past “Reminds me of a time when we were inferior. We should never forget.” The show has lost its purpose and meaning because it’s an art-form. It’s entertaining value is stronger than the essential ideals of the culture trying to make a change. “It’s the same bullshit, just done over,” Sloan states. In a final act, Manray appears not in black-face. He recalls the first entertaining thing he did upon the stage of the “Millennial Minstrel Show” and it points out the divisions and stereotypes that have been created in the world and have been supported and represented in the cinema. Just because it's the millennium, doesn't mean racism is gone. He says, “Look out your window. I’m sick and tired of being a N***** and I’m not going to take it anymore.” Look beyond our screens to the world that surrounds us. That’s where the change will begin. The change to eliminate the judgment and stereotypical values placed on others. Once that ends, the representations of them will change as well. Racism (as it performs a function in the cinema) is not a permanent entity of film. Things can change in our dialects, our interactions, our “institutionalized expectations”, and our “mental machinery” that will provide an awareness of the cultural and ideological assumptions that are impress upon the cinema.