WBEZ | Hollywood http://www.wbez.org/tags/hollywood Latest from WBEZ Chicago Public Radio en How Film and Media Stereotypes Affect the African-American Experience http://www.wbez.org/programs/worldview/2016-01-15/how-film-and-media-stereotypes-affect-african-american-experience <p><p><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/12%20years%20good%20good.jpeg" title="Lupita Nyong'o in a scene from the motion picture, ’12 Years a Slave’. For her performance, Nyong'o won the 2013 Academy Award for Best Actress in a Supporting Role. (Entertainment One)" /><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/242572058&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_artwork=false" width="100%"></iframe><strong><span style="font-size:22px;">How Film and Media Stereotypes Affect the African-American Experience</span></strong></p><p>For Black women, combating negative cultural and media imagery has been an uphill climb. For <em>Worldview&rsquo;s</em> occasional series, <a href="http://www.wbez.org/series/images-movies-and-race"><em>Images Movies and Race</em></a>, we reflect on this Martin Luther King Day with a look back to a compelling and award&ndash;winning 2010 conversation on racial imagery in American media and film. Richard Steele will talk with Brenda Verner, an historian, media analyst and Chicagoan, about historic representations of Black women AND men in American culture and how it&rsquo;s affected the African-American experience. From her childhood in Altgeld Gardens - through her studies at Cornell and Harvard - to being a national writer and speaker &ndash; Verner says she&rsquo;s dedicated her life to &ldquo;informing and empowering&rdquo; African-Americans.</p><p><strong>GUESTS:&nbsp;</strong></p><p><a href="http://www.wbez.org/news/culture/real-deal-best-wbezs-richard-steele-according-his-colleagues-110914">Richard Steele</a> is a host/producer for WBEZ and Vocalo</p><p>Brenda Verner is an historian and media analyst</p><p><em><strong>This conversation won a <a href="http://www.nabj.org/?STERADIO2011">2011</a> National Association of Black Journalists &#39;Radio Excellence Award&#39;</strong></em></p></p> Mon, 18 Jan 2016 06:00:00 -0600 http://www.wbez.org/programs/worldview/2016-01-15/how-film-and-media-stereotypes-affect-african-american-experience Academy Award fever sweeps public radio http://www.wbez.org/news/culture/academy-award-fever-sweeps-public-radio-111590 <p><p>The 87th Academy Awards are tonight, but if you&#39;ve been listening to WBEZ you already know that. Public media had film fever lately, publishing in-depth interviews and stories on the filmmaking process. Here&#39;s a selection of our favorite interviews with Oscar-contenders, stories about the film industry and analysis from thoughtful critics.</p><p><span style="font-size: 24px;">Best Director Nominees</span></p><p>Our own <a href="http://nerdettepodcast.com/listen">Nerdette Podcast</a> had a wonderful interview with <em>Boyhood</em> director Richard Linklater. He explained how his approach to the film was informed by novel-writing and nerded out about the Ingmar Bergman film, <em>Fanny and Alexander</em>, &quot;I realized this is the greatest film about that view of the magical thinking of a kid.&quot;</p><p><iframe frameborder="no" height="100" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/191621846&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_artwork=false" width="100%"></iframe></p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/KeatonBirdman.png" style="float: left; height: 200px; width: 300px;" title="Michael Keaton and Alejandro González Iñárritu (Courtesy of Fox Searchlight)" /><em>Birdman</em> director Alejandro González Iñárritu told <a href="http://www.scpr.org/programs/the-frame/2014/09/01/39126/birdman-alejandro-gonzlez-inarritu-michael-keaton/" target="_blank">Southern California Public Radio&#39;s <em>The Frame</em></a> he felt Michael Keaton&rsquo;s performance was &ldquo;almost a miracle.&rdquo;</div><blockquote><p>&quot;During the writing process, I had Michael Keaton as one of the highest possibilities, but then when I finished I knew that he was the best. Not only because he will bring the authority to really talk about what we talk about when we talk about superheroes. That would be Michael, because he, in a way, is the pioneer of that. That will bring the authority, a kind of a meta-dialogue to the film.</p><p>&quot;At the same time, I always have considered Michael Keaton to be a phenomenal actor because he navigates drama and comedy. He has been the bad guy, the funny guy, and I needed somebody who can really navigate those two genres and I think few actors can do that. What he did is extraordinarily difficult, honestly. I think I have worked with great actors, but what he did it was almost a miracle, I have to say.&quot;</p></blockquote><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/AP722953903556.jpg" style="float: right; height: 200px; width: 300px;" title="Ralph Fiennes and Wes Anderson (AP/Thibault Camus)" />Writer/director Wes Anderson <a href="http://www.scpr.org/programs/the-frame/2015/02/10/41493/wes-anderson-says-the-grand-budapest-hotels-succes/" target="_blank">told <em>The Frame</em></a> that the success of <em>The Grand Budapest Hotel</em> was a &ldquo;total mystery.&rdquo;</div><blockquote><div>&ldquo;I could come up with some notion, but it&#39;s complete guess work ... I had one a few years ago, [&quot;The Life Aquatic with Steve Zissou&quot;], that I thought, This is an ocean-going adventure story, it&#39;s the most commercial idea I&#39;ve ever had...[but] almost no one went to see it. I thought I was making a kind of Spielberg movie. The world did not share my perspective on this. Up until the moment there&#39;s a real public screening &mdash; and it&#39;s not a test screening, the movie is finished and we are at a film festival&nbsp; or something &mdash; I have absolutely no sense of how it&#39;s going to go over at all. And really, even after that, I tend not to.&rdquo;</div></blockquote><p>While Benedict Cumberbatch has recieved most of the attention over <em>The Imitation Game</em>, director Morten Tlydum has also been nominated for Best Director on his first English-language feature. He <a href="http://www.scpr.org/programs/the-frame/2014/09/02/39151/telluride-the-imitation-game-screenwriter-and-dire/" target="_blank">told <em>The Frame</em></a>:</p><blockquote><p>&quot;What drew me to the project is that it&#39;s a tribute to people who are different &mdash; who are thinking differently, who [don&#39;t] really fit into the norm, whose ideas are not like anybody&#39;s ideas &mdash; and I think that is so important. We as a society &mdash; we as a species &mdash; if we&#39;re going to move forward, we have to listen to those who think different &mdash; who are not seeing it in the same way as everyone else.&quot;</p></blockquote><p><span style="font-size:24px;">Best Picture Nominees</span></p><p><em>Selma</em> was a favorite for nominations in a number of Oscar categories, but was limited to Best Picture and Best Song. This slight prompted an insightful conversation on WBEZ&#39;s <em>General Admission</em> podcast about the value of making lists about art and how they can starkly show the industry&#39;s lack of diversity.</p><p><iframe frameborder="no" height="100" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/191665733&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_artwork=false" width="100%"></iframe></p><p>The most controversal film among the Best Picture nominees, <em>American Sniper</em> became a central point on <em>Filmspotting</em>&#39;s Oscar preview episode. They looked back to another Clint Eastwood directoral effort for comparison&mdash;<em>Unforgiven.</em></p><p><iframe frameborder="no" height="100" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/190985372&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_artwork=false" width="100%"></iframe></p><p><em>Whiplash</em> writer/director Damien Chazelle <a href="http://www.scpr.org/programs/the-frame/2014/10/09/39765/whiplash-director-damien-chazelle-painful-virtuoso/" target="_blank">told <em>The Frame</em></a> that he was inspired by musicians he knows in real life.</p><blockquote><p>&quot;There are a few musicians that I know who seem on the outside like very asocial or somewhat unemotional people, people who aren&#39;t capable of emotions, and people think they&#39;re very cold inside.</p><p>And they&#39;ll be like that, and then you&#39;ll hear them play their instrument, or you&#39;ll hear the music they write, and you&#39;ll hear emotions come out of that music that you&#39;d never expect coming from that person, and that to me is always this fascinating thing, these people who truly can only communicate through music.</p><p>So I wanted to make a movie about people who live music in that way and compare that to what it&#39;s like in the outside world. You know, a guy who gives his heart and soul to a music school and an instrument and then he goes out to dinner with his family and he&#39;s met with indifference, and what that sort of does to you when your interior passion doesn&#39;t line up with what the world wants from you.&rdquo;</p></blockquote><p><span style="font-size:24px;">Hollywood Jobs</span></p><p>NPR&#39;s <em>Morning Edition</em> contined their ten-year tradition of unleashing Susan Stamberg on Tinseltown backlots for her series &quot;<a href="http://www.npr.org/series/147290803/hollywood-jobs#" target="_blank">Hollywood Jobs</a>.&quot; In this year&#39;s installment Stamberg profiles soundtrack loopers, food stylists, costume designers, location scouts and prop makers.</p><p>In a similar vein, <em>Marketplace </em>learned <a href="http://www.marketplace.org/topics/business/logistical-mind-behind-boyhoods-12-year-shoot" target="_blank">what exactly a first assistant director does</a> and did the numbers on the <a href="http://www.marketplace.org/topics/business/economy-red-carpet" target="_blank">economy of the red carpet</a>.</p></p> Thu, 19 Feb 2015 11:48:00 -0600 http://www.wbez.org/news/culture/academy-award-fever-sweeps-public-radio-111590 Artist Encounter: By the Way, Meet Vera Stark http://www.wbez.org/series/chicago-amplified/artist-encounter-way-meet-vera-stark-107047 <p><p>Goodman Theatre Artist Encounters bring together audiences and the artists who create the work on our stages in an intimate environment, for a behind-the-scenes look at the plays and the playmaking process. Enjoy this in-depth conversation with <em>By the Way, Meet Vera Stark</em> playwright <strong>Lynn Nottage</strong> and director <strong>Chuck Smith</strong>.</p><div>This &ldquo;sharp-toothed comedy&rdquo; (<em>The Wall Street Journal</em>) offers a glimpse into the life of <strong>Vera Star</strong>k, a headstrong African American actress who begins a career in the 1930s, at a time when her only shot at success lay in stealing small scenes in big Hollywood blockbusters. Seventy years later, film buffs are left to reflect on the life and legacy of this controversial star, whose eventual fame and fortune came at the price of perpetuating dangerous stereotypes. Hilarious and poignant, <em>By the Way, Meet Vera Stark</em> paints a vivid picture of the cultural climate that shaped this mysterious screen queen&mdash;and wonders who, in another time, she might have been.</div><div>&nbsp;</div><div><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/GT-webstory_3.jpg" style="float: left;" title="" /></div></div><p><br /><br /><br /><br /><br />Recorded live Sunday, May 5, 2013 at the Goodman Theatre.</p></p> Sun, 05 May 2013 09:34:00 -0500 http://www.wbez.org/series/chicago-amplified/artist-encounter-way-meet-vera-stark-107047 Winter in Hollywood: Tis the season for slut-shaming http://www.wbez.org/blogs/nico-lang/2013-01/winter-hollywood-tis-season-slut-shaming-105098 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/APTexasChainsaw.jpg" style="float: right;" title="Texas Chainsaw 3D (AP)" />The winter movie season tends to be a dumping ground for movies that couldn&rsquo;t hack it anywhere else&mdash;whether they&rsquo;re risky business for a studio that feels they might be a tough sell to audiences (the re-cut, hyper-violent <em>Gangster Squad</em>) or a studio red-headed stepchild that has flop written all over it (the long-delayed <em>Hansel and Gretel: Witch Hunters</em>).The <em>A.V. Club</em> recently referred to January as the &quot;<a href="http://www.avclub.com/articles/2013-winter-movie-antipreview,90739/2/">least-wonderful time of the year</a>.&quot; But this winter, we&rsquo;re seeing an emerging trend on top of our yearly pile of holiday coal: a stinking heap of slut-shaming and sex negativity.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">To be fair, this isn&rsquo;t the first time that slut shaming has reared its sexist head in TV or film. The WB&rsquo;s golden age programming had a marked tendency to punish its female characters for losing their virginity. Both <em>Gilmore Girls</em> and <em>Felicity </em>have their young leads engage in infidelity for their first times, which leads to retribution and (in the case of Rory Gilmore) being shipped off to Europe for the summer like Daisy Miller. In <em>Buffy the Vampire Slayer</em>, <a href="http://tvtropes.org/pmwiki/pmwiki.php/Main/SlutShaming">Buffy Summers</a>&rsquo; undead boyfriend loses his soul and tries to kill all of her friends after they have sex. The premium is put on maintaining one&rsquo;s virginity, and if any form of sexuality is shown, it&rsquo;s harmful and dangerous.</div><p>Cinema sometimes subverts these norms&mdash;like <em>The Devil Wears Prada</em>&mdash;but the more common example is a film like <em>What&rsquo;s Your Number?</em>, which tells women that having sex with too many people is bad. If you&#39;re a slut, no one will ever love you and you&rsquo;ll be doomed to be alone. It&rsquo;s like that scene in <em>Mean Girls</em> where a sex-ed counselor tells girls that if they have sex, they will get pregnant and die. This is not how Judy Blume said it would be.</p><p>Michael Tiddes&rsquo; <em>A Haunted House</em> (aka that movie starring a bunch of Wayanses) gives us a great example of Hollywood&rsquo;s norm of sex negativity, as characters who overtly express their sexualities are lampooned for it. The Wayans&rsquo; brothers previous <em>Scary Movie </em>franchise engages in the same behavior, presenting female sexuality in broad caricatures and dichotomies. Women are either fake-breasted sluts or virgins. In <em>A Haunted House</em>, the character most defined by his sexuality is Nick Swardson&rsquo;s gay psychic, and Swardson can&rsquo;t get through fifteen seconds of screen time without the movie shaming him for his sexuality. They even pull out a nice lisp and some leather gear to do so. The Wayans oeuvre is not one for subtlety.</p><p>As a (terrible) send-up of horror films, <em>A Haunted House</em> both comments on and upholds the horror genre&rsquo;s tortured relationship to sex&mdash;where the virgin lives and the slut dies first. (Joss Whedon&rsquo;s recent <em>The Cabin in the Woods</em> parodies this trope brilliantly.) If you wanted an example of slut-shaming in horror films for your cinema class, the recent <em>Texas Chainsaw 3D</em> is practically a gift from God, a movie whose characterization of female sexuality is so over the top that you feel like it has to be a joke. Two of the film&rsquo;s three screenwriters are female, so I sincerely hope this is the case, but Tina Fey assures me it might not be. Seriously, did <em>Mean Girls </em>teach us nothing?</p><p><em>Texas Chainsaw 3D</em> introduces us to two female leads, whose sexual behaviors are diametrically opposed. Alexandra Daddario&rsquo;s Heather is a classic horror movie good girl in the vein of Jamie Lee Curtis, who looks like Neve Campbell crossed with Tiffani Amber Thiessen. She&rsquo;s shown to be somewhat sexually active, but far more conservative than her friend Nikki, whose dress and nomenclature suggest she&rsquo;s auditioning for <em>Showgirls II: Revenge of the Kibble</em>. Almost every line of Nikki&rsquo;s dialogue that graces our ears is about having sex, hooking up or boys&mdash;but Raymonde plays Nikki with enough winking irony that you know she understands what she&rsquo;s dealing with here. During a <a href="http://www.dreadcentral.com/news/62449/exclusive-interview-tania-raymonde-being-slutty-girl-and-more-texas-chainsaw-3d">panel</a> discussion about the film, the <em>Lost </em>actress was a good sport about her character&rsquo;s limitations: &ldquo;That was another pleasure of mine, to fulfill the iconic stereotype role of the bimbo in the horror movie.&rdquo;</p><p>Despite the brains behind the boobs, the movie treats Nikki with a strange amount of disdain and spends a great deal of screen time setting her up for a slut takedown. Throughout the film, Nikki goes after Heather&rsquo;s boyfriend (played by rapper Trey Songz, obviously) like a drunken, heat-seeking missile, and finally lands him in a barn by getting him liquored up. She all but has to force him to get him to have sex with her, which the movie is then able to punish her for by brutally slaughtering her. Whereas Mr. Songz&rsquo;s death gets to take place off camera, the film revels in watching her pay.</p><p>The same behaviors take place in <em>Jack Reacher</em>, a movie that&rsquo;s been steamrolled at the box office by <em>Django Unchained</em> and <em>Les Miz</em> ever since it was released. Buried in the pre-Christmas onslaught, the film portrays Tom Cruise as a loner vigilante working with and against the police to track down a serial killer, played with reliable surreal gusto by the mad German auteur Werner Herzog. While hunting down the bad guys, the film serves as a love letter to Tom Cruise&rsquo;s apparently irresistible sex appeal, as almost every woman he encounters throws themselves in front of him to have sex with him. In an uncomfortable scene, even an old lady cashier gives him the sex-me-now eye. He declines, because he&#39;s too good for sex. Jack Reacher is above that sort of thing.</p><p>One of the women dying to be with him is the scantily clad Sandy, who approaches the much older Cruise in a bar and offers to go to bed with him. For reasons that the plot will attempt to explain later, Cruise turns down her offer, at first mistaking her for a hooker, and then repeatedly calls her a &ldquo;slut&rdquo;&mdash;until the men she&rsquo;s with try to beat him up. (Because it&rsquo;s a Tom Cruise movie, he&rsquo;s able to fight all of them off.) However, the movie is not done with Sandy, and Cruise will track her down again later to give her a bizarre speech about her life choices and why she needs to change her filthy, whorish ways. Sandy doesn&rsquo;t turn her life around, so someone punches her in the head and she dies. No more Sandy.</p><p>What&rsquo;s interesting here is that the movie finds the idea of Tom Cruise being an insatiable lothario so permissible that it&rsquo;s able to ram it down our throats&mdash;but if a woman expresses herself sexually, she gets killed for it. What is this, the Taliban?</p><p>Even the movies that do a better job on issues of female sexuality have an odd relationship with the secular flesh. Take the Oscar-nominated <em>Zero Dark Thirty</em>, which is a landmark in rewriting the rules of women in film. Jessica Chastain&rsquo;s Maya lives for her job, so much so that she views the idea of having sex with her co-workers &ldquo;unbecoming.&rdquo; When another female employee, played by Meryl Streep look-alike Jennifer Ehle, suggests that she relax and let her hair down, Maya insists, &ldquo;I&rsquo;m not the girl who f**ks.&rdquo; In order for Maya to be respected at what she does, she&rsquo;s not allowed to be sexually active at all, and Maya looks down on those without her brand of sexual ethics. All this does is replace one set of sexual standards for another, rather than just allowing women to make their own choices.</p><p>Although the film is meant to be a statement about the hyper-sexualization of women in cinema and a cry against patriarchy, this only upholds the overarching sex negativity in Hollywood, where sex is a four letter word. Last year&rsquo;s public slut-shaming of Kristen Stewart and the industry&rsquo;s complicity in dumping her career only showed how much progress needs to be made on the issue. We need to change a culture where women are thrown under the bus for cheating, and men get to keep their jobs and careers. The slut shaming we see in such films as <em>Texas Chainsaw 3D</em> is a reflection of that puritanical mindset, one that we reinforce by throwing money at it.</p><p>If there&rsquo;s any hope for sluts at the cinema, you&rsquo;ll find it in films like Will Gluck&rsquo;s <em>Easy A</em> or David O. Russell&rsquo;s <em>Silver Linings Playbook</em>, which aren&rsquo;t perfect but are a huge step in the right direction. In <em>Silver Linings</em>&rsquo;, Jennifer Lawrence&rsquo;s Tiffany plays a widow who went through a promiscuous period after her husband&rsquo;s death, about which her romantic interest, Bradley Cooper&rsquo;s Pat, gives her a hard time. Rather than apologizing for her past, Lawrence owns her sexual history. When Pat calls her a &ldquo;big slut,&rdquo; she retorts, &ldquo;There&#39;s always going to be a part of me that&#39;s <em>sloppy and dirty</em><em>,</em> but I like that, just like all the other parts of myself.&rdquo;</p><p>Sure, Tiffany has to reinforce the idea that she&rsquo;s not a slut <em>anymore</em> to assuage Pat&rsquo;s fears, but a mainstream movie that even flirts with sex positivity is a revelation. Although outspoken young actresses like Jennifer Lawrence and Olivia Thirlby&mdash;who mentioned in a recent interview that she self-identifies as a &ldquo;slut&rdquo;&mdash;are ready and able to break the boundaries of how Hollywood portrays women, they need directors, producers and writers who are willing to go on that journey with them. Rather than continuing to perpetuate damaging norms and then cheekily playing along, we need to stop teaching young women that their bodies are bodies are disposable and they deserve to die for having sex. If we want to empower women, we have to stop being ironic about sexism and start actually doing something about it.</p><p><em>Nico Lang blogs about LGBTQ life in Chicago for WBEZ.org. Follow Nico on Twitter <a href="http://www.twitter.com/Nico_Lang" target="_hplink">@Nico_Lang</a> or on <a href="http://www.facebook.com/NicoRLang" target="_hplink">Facebook</a>.</em></p></p> Wed, 23 Jan 2013 10:21:00 -0600 http://www.wbez.org/blogs/nico-lang/2013-01/winter-hollywood-tis-season-slut-shaming-105098 Black Republicans in Pop Culture: How will they be Perceived if they Go Public? http://www.wbez.org/series/race-out-loud/black-republicans-pop-culture-how-will-they-be-perceived-if-they-go-public <p><div class="image-insert-image ">Why is it assumed that the black vote will always go to the Democratic party? That&#39;s the question Brian Babylon was asking this morning on The AMp with co-host Molly Adams after receiving the Obama Party spam e-mail from Beyonce Knowles. He believed that he received that e-mail because the connotation of the message implied that blacks should encourage each other to vote for Barack Obama.</div><p>Democrats are known for being a more socially liberal party and the Republicans are the old-guard party, and perhaps this could be a major factor in the traditional demographics within each party. Support for the Republican party is also scarce in the world of Hollywood. Vocalo&#39;s very own Brian Babylon and Molly Adams from the Morning AMp discuss this phenomenon with current events, facts, Jay, and Nas.&nbsp;</p><p>&nbsp;</p><p><iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F55076247&amp;show_artwork=true" width="100%"></iframe></p></p> Fri, 03 Aug 2012 10:28:00 -0500 http://www.wbez.org/series/race-out-loud/black-republicans-pop-culture-how-will-they-be-perceived-if-they-go-public Hollywood casting in black and white http://www.wbez.org/story/coya-paz/hollywood-casting-black-and-white <img typeof="foaf:Image" src="http://llnw.wbez.org//tara true blood.jpg" alt="" /><p><p>Hollywood is often accused of whitewashing when it comes to its casting choices. Offenses range from the mundane - sitcoms with all white casts and the token &ldquo;best-friend&ndash;character-of-color&rdquo; - to the brazen. Take for example the movie <a href="http://www.sonypictures.com/homevideo/21/">21</a>. The film was based on the <a href="http://artsbeat.blogs.nytimes.com/2008/04/08/is-bringing-down-the-house-a-fraud/">mostly true</a> story of a group of M.I.T. students who pulled a massive card counting scheme in a Vegas casino and walked away with millions. In real life the majority of students were Asian American. But the film was cast with nearly all white actors.</p><p>Of course, just casting actors of color doesn&rsquo;t fully solve the issue of minority media representation. Even when characters of color do appear onscreen they can spawn a love-hate relationship with audiences from their own demographic. For example, is&nbsp;Tara from HBO's <em>True Blood</em> just another offensive example of <a href="http://www.racialicious.com/2008/09/24/true-blood-tired-stereotypes/">the sassy black friend</a>? &nbsp;Or is she a strong character in her own right? On one hand, viewers are excited to see representations of themselves onscreen; on the other hand, they often cringe at what they see.</p><p>This was one observation made by a panel of media makers convened by Chicago&rsquo;s <a href="http://www.goodmantheatre.org/">Goodman Theater</a> to dish on representations of people of color in the media. In the mix were some local creative heavy-weights: writer/director Coya Paz, singer and producer Shilpa Bavikatte, and filmmaker Vaun Monroe. As artists and media makers they are especially attuned to the way people of color are portrayed on stage and screen. And in the audio excerpt above they talk about the kinds of portrayals that stir up their profound irritation and ambivalence.</p><p><em>Dynamic Range showcases hidden gems unearthed from Chicago Amplified&rsquo;s vast archive of public events and appears on weekends. Coya Paz, Shilpa Bavikatte and Vaun Monroe spoke to an audience at the </em><a href="http://www.goodmantheatre.org/"><em>Goodman Theater</em></a><em> in February. Click </em><a href="../../../../../../story/culture/theater/airing-dirty-laundry-stories-we-cannot-tell"><em>here</em></a><em> to hear the event in its entirety, and click </em><a target="_blank" href="http://itunes.apple.com/us/artist/wbez/id364380278"><em>here</em></a><em> to subscribe to the Dynamic Range podcast. </em></p></p> Fri, 11 Mar 2011 18:44:00 -0600 http://www.wbez.org/story/coya-paz/hollywood-casting-black-and-white