Tyler Perry and The Weight of Misrepresentation

Criticism of black film production often includes discussions of narrow typecasting and stereotypical role portrayal. Previous research shows that consumers of black films attest that such films are an accurate depiction of black culture. However, consequences of negative stereotypes presented in mainstream media are rarely discussed. The purpose of this study is to define and examine the stereotypes of African American women in film. By way of semiotic film content analysis this research will look at the relationship and function between specific historical stereotypes and the behaviors of female characters in Tyler Perry’s most popular films. This research examines role portrayals in relation to character traits that are historically classified as the “Mammy,” “Sapphire” and “Jezebel” stereotype classifications. INTRODUCTION Popular culture has the power to shape a consumer’s construction of social reality. Because of the power of popular media including music, movies and television, it is important that leaders in the industry be cautious of what images they offer their consumers. “Culture branders” such as film directors have a greater responsibility because the material they release helps to shape the way society thinks. For the purpose of this research, a “culture brander” will refer to one who has a strong presence and impact on popular culture. This research examines the extension of African American stereotypes pertaining to black women, including the “Mammy,” “Jezebel” and “Sapphire,” in a sample of Tyler Perry films. This analysis argues that Tyler Perry’s films create 1 McKoy: Tyler Perry and The Weight of Misrepresentation Published by DigitalCommons@EMU, 2012 128 cultural capital that has the ability to construct a belief system about typical African American behavior. LITERATURE REVIEW Stereotyping and Binary Thinking Individuals perceptions of others are built on how their environments have shaped their mindsets. Regardless of being negative or positive, racial, sexual and gender stereotypes exist. In an essay written to describe representational practices known as ‘Stereotyping,’ Richard Dyer argues that it is important for one to distinguish the difference between typing and stereotyping. We, as humans, understand our world by assigning objects, people and events to wider categories, which seem to fit our culture (Dyer, 1977). Typing, according to Dyer, is how we decode our world; we understand “the particular” according to the terms of its “type.” For example, we would decode an object with four legs and a cushion as a “chair.” There will be a general category in one’s mind that the object would fit, whether or not one has come into contact with that particular design of a chair before. Without typing, it would be difficult to make sense of the world (Dyer, 1977). According to Dyer, a type is “any simple, vivid, memorable, easily grasped and widely recognized characterization in which a few traits are foregrounded, and change, or development is kept to a minimum” (Dyer, 1977). Stuart Hall agrees that stereotypes grasp hold of those few vivid, simple, memorable and widely recognized characteristics about an individual, reduce the entire person down to those few traits, exaggerate them to simplify them, and then fix them without a chance for change or development. Therefore, stereotyping reduces, essentializes, naturalizes and sets the “difference” firmly in place (Hall, 1997). The Sage Dictionary of Cultural Studies further explains that stereotyping is often the “process that involves the attributing of negative traits to people who look different than us” (Barker, 2004). Stereotyping is employed to divide what is socially acceptable from what is socially unacceptable. This notion causes the exclusion and dismissal of individuals who do not meet society’s Briana McKoy 2 McNair Scholars Research Journal, Vol. 5 [2012], Iss. 1, Art. 10 http://commons.emich.edu/mcnair/vol5/iss1/10 129 criteria for specific categorizations’ standards. According to Hall (1997), stereotyping is a part of maintaining the symbolic and social order of our lives. This practice divides insiders from outsiders and the normal from the unusual, separating “us” in order to exile “them” (Hall, 1997). Today, stereotypes and influential stereotypical images can be seen in different aspects of society, ranging from government and political roles, to familiar social interactions, such as reports of racial profiling and racial discrimination in employment. More specifically, gender roles initiate their own exclusive techniques, creating a questionable reality for individuals in society today. Hazel Carby suggests that stereotyping is employed “not to reflect or represent a reality but to function as a disguise, or mystification, of objective social relations” (Hill-Collins, 2000). In agreement with Carby, Patricia Hill Collins states that these stereotypical images of black women are designed to make racism, sexism, poverty, and all other forms of social injustice seem natural and further, an inevitable series of events in a black woman’s life (Hill-Collins, 2000). Binary thinking occurs when two opposing concepts function together by one being submissive to the other. Each term in the binary only gains meaning in relation to its counterpart. Examples of binary relationships would include male/female, white/ black, and culture/nature (Haplin, 1989). Binary thinking is a notion that crosscuts all forms of societal oppression. People, objects and ideas are all categorized in terms of their difference from one another when binary thinking is employed (Keller, 1985). Binary thinking is a cognitive process that allows one to think in two ways simultaneously. This shapes one’s understanding of human difference as defined in oppositional terms, meaning that one part is not simply different from its counterpart, but that they are related only through their definition as opposites. In a binary relationship, one element might be objectified as the “other,” viewed as a pawn that can be manipulated and controlled, thus making objectification central to the process of oppositional difference (HillCollins, 2000). Oppositional binaries are unstable because they seldom represent different, but equal, relationships. Only through Tyler Perry and the Weight of Misrepresentation 3 McKoy: Tyler Perry and The Weight of Misrepresentation Published by DigitalCommons@EMU, 2012 130 subordination (one half of the binary to the other), can tension in the relationship be temporarily relieved. Examples of the aforementioned binary relationships under subordination would result in situations similar to whites ruling blacks, men holding power over women, reason being superior to emotion in acquiring truth, and facts more valued than opinion when evaluating knowledge (Hill-Collins, 2000). According to Hill-Collins, African American women occupy the inferior half of the binary relationship. Analyzing specific controlling images projected in the media in relation to black women will reveal the specific niche of the black woman’s objectification. The stereotypical images of black women are each dynamic in their own right and ever-changing. These evolving stereotypes each provide a new starting point for examining popular images that fuel new forms of control (Hill-Collins, 2000). Elite groups have the power to define societal values. Thus, in executing this power, they have the ability to manipulate ideas about black womanhood. Hill-Collins claims that the African American woman’s status has been deemed the “outsider’s,” and it is from this point that other groups in society define their “normality.” She claims strangers and other outsiders threaten the “moral and social” order of society. However, while the “others” will never really fit into society, they are quite essential to its survival. “Others” who stand at the margins of society, not fitting within social constructs, clarify its boundaries. By not belonging, black women serve as a reminder to emphasize the significance of belonging (Hill-Collins, 2000). Black feminist scholar Barbara Christian suggests that in the United States, “the enslaved African woman became the basis for the definition of our society’s ‘other’ ” (1985). Contemporary images of the black woman in America as “other” provide ideological justification and extend race, gender and class oppression (HillCollins, 2000). Cheryl Gilkes goes on to say “Black women’s assertiveness and their use of racism to launch multiple assaults against the entire fabric of inequality have been a consistent, multifaceted threat to the status quo. As punishment, black women have been assaulted with a variety of negative images” (Hill-Collins 2000). Briana McKoy 4 McNair Scholars Research Journal, Vol. 5 [2012], Iss. 1, Art. 10 http://commons.emich.edu/mcnair/vol5/iss1/10 131 Subliminal messages can be observed in many popular films today. What is not clear and evident to consumers of cultural motion pictures, are the underlying stereotypical messages presented within contemporary character roles, and in particular, those pertaining to black women, including the three dominant stereotypes: the “Mammy,” “Jezebel” and the “Sapphire” (Fontaine, 2011). The “Mammy” stereotype originated as a domestic house servant, faithful and obedient. The “Mammy” ran her slave master’s home very sternly. According to Cheryl Thurber, “she held the keys, an important symbol of status and answered only to the plantation mistress and master” (102). Because of her dominant power, the “Mammy” was respectfully feared and crossed by neither black nor white members of the household (Hill-Collins, 2011). The “Mammy” is typically depicted as an overweight woman with broad shoulders, large arms and a wide stance (Hooks, 1981). The black “Mammy” takes on the image of what bell hooks refers to as “masculinized sub-human creatures” (Hill-Collins, 2011). Through exaggerated opposites of mainstream society, the “Mammy” is in a type that could be easily marked “other.” According to bell hooks, the original masculinization of the Mammy was used to enhance the idea that white women were passive and ladylike (Hooks, 1981). The “Jezebel” stereotype originated from the sexual exploitation and victimization of African American women by their white slave owners (Thomas Witherspoon & Speight). Her sexuality, in turn, exploits men’s weaknesses (West, 1995). The “Jezebel” is usually depicted in film and culture as someone who uses sex to draw men in for money and other destructive reasons. Usually found to have lighter skin, she was attractive to slave masters, in comparison to the female slaves with darker skin. The “Jezebel” thrives on attention, primarily from men that don’t belong to her (Fontaine, 2011). According to Patricia Hill-Collins, the modern execution of the “Jezebel” stereotype through contemporary media is a sexualized, angry black woman who has sex with men for pleasure, drugs, revenge or money (Hill-Collins, 2004). The modern image of the “Jezebel” justifies the abuse she receives from African American men (Fontaine, 2011). Tyler Perry and the Weight of Misrepresentation 5 McKoy: Tyler Perry and The Weight of Misrepresentation Published by DigitalCommons@EMU, 2012 132 The “Sapphire” stereotype originated as a feisty female character on the “Amos ‘n’ Andy” show, first on radio in the 1940s, and then on television in the early 1950s (Deane, 2012 The “Sapphire” is usually depicted as a black female who is sharp tongued, violent and offensive. She can be found rolling her neck and shaking her head with her hand on her hip. According to Fontaine, the “Sapphire” is sassy. She mocks black men for a number of reasons, including, but not limited to their unemployment and pursuit of white women (Fontaine, 2011). CONSEQUENCES OF BLACK REPRESENTATION IN FILMS There are many consequences that black females are subject to, due to their representation in popular contemporary film. In the domain of media roles, the way blackness is framed in society has a lot to do with the portrayal of African American stereotypes in feature films. The media plays a significant role in shaping what we believe to be our social realities (Brooks, 2006). Scholars who have examined portrayals of African Americans in the media have found faults in their reflections concerning legitimacy, oversimplification and accuracy. According to Dates and Barlow, African American stereotypes in the media are far from the natural, harmless products of an idealized popular culture, but are rather onedimensional and distorted, socially-constructed images that reflect African American culture (Dates & Barlow, 1990). American media outlets are frequently criticized for broadcasting ideologies of racism that are dominant in American culture. These negative ideologies include racial exploitation, which incorporates beliefs that justify inferior and or unequal treatment of specific groups. Distorted images of African American behavior in the media, particularly in feature films, reassures its consumers that African Americans are still “in their place,” and further, that blacks who escape their “place” are not to be seen as a threat to society because “they transcend race by majority values and ambitions” (Djata, 1987). Ideologies of black inferiority often are projected onto entire groups of people through the use of demeaning stereotypes that reinforce and legitimate that idea. Briana McKoy 6 McNair Scholars Research Journal, Vol. 5 [2012], Iss. 1, Art. 10 http://commons.emich.edu/mcnair/vol5/iss1/10 133 The problem with stereotypes such as the “Mammy,” Jezebel” and “Sapphire” is that they embody more negative and narrow depictions of blacks (black culture) than occur in reality for blacks or for whites (Branthwaite and Peirce, 1990). Narissa M. Punyanunt-Carter explains that audience members interpret media portrayals of African Americans to be indefinitely true in the article, “The Perceived Realism of African American Portrayals on Television.” Further, she goes on to claim that negative portrayals of African Americans in the media most often lead to nothing but the continued stereotyping of the African American population at large (Punyanunt-Carter, 2008). Stereotyping is one of the many ways that the media can communicate prejudice (Duckitt, 1992). Portrayals of African Americans through such stereotypical images can reveal subtle attitudes and assumptions about the minority at large (Bristor, 1995). According to Cooper, “One may surmise that the significant presence of blacks in American popular comic forms, starting from minstrel shows and continuing with their representation in comedic films, television situation comedies, and as stand-up performers, have significantly affected Whites’ perceptions of Blacks” (Cooper, 2007). African Americans hold a significant place in comedic entertainment; consequently consumers have the potential to acquire a perception of black culture that might not have otherwise existed. INFLUENCE OF MEDIA IMAGES ON AFRICAN American Self-Esteem Mainstream media, in its many forms, have proven to affect the self-perception of its consumers (Bristor, Lee, & Hunt, 1995). Images are more influential when the viewer can identify with the race of the talent on the screen, meaning that black audience members will identify heavily with black actors/actresses, models and athletes (Botta, 2000). Stereotypes of black women portrayed in the media both reflect and distort the ways that African American women view themselves (individually and collectively) and the ways they are viewed by others (Hudson, 1998). Author Monique Ward conducted a study on the effect the media has on black youth consumers. The study concluded that of all Tyler Perry and the Weight of Misrepresentation 7 McKoy: Tyler Perry and The Weight of Misrepresentation Published by DigitalCommons@EMU, 2012 134 racial groups, blacks (youth and adults) have been shown to consume the most media (Ward, 2004). In agreement with Ward’s findings on African American consumers, Author Patricia Hill-Collins states: ...Popular culture has increased in importance as a source of information and ideas. African American youth, in particular, can no longer depend on a deeply textured web of families, churches, fraternal organizations, school clubs, sports teams, and other community organizations to help them negotiate the challenges of social inequality. Mass media fills this void, especially movies, television, and music that market black popular culture aimed at African American consumers (Hill-Collins, 2004). In response, Ward (2004) contends that frequent and overexposure to images of blacks with stereotypical characteristics lead viewers of all races to believe that those attributes characterize blacks in the real world. Because African Americans view these images most frequently, it is believed that these consumers are led to assume that blacks are inferior and that being black is a bad thing, thus leading to low self-esteem and overall lower racial self-esteem (Ward, 2004). The correlation between levels of media exposure and low self-esteem is a direct result of the perceived realism of blacks in the media. Taking in a steady visual diet of these stereotypical images results in the construction of a disproportionate reality when it comes to the grouping, or “typing,” of African American women. African Americans are pre-conditioned to and by the white, racist point of view, thus subjecting them to the role of the victim of these misrepresentations. Film critic bell hooks states that such representations in the media “determine how blackness and people are seen and how other groups will respond to us based on their relation to these constructed images” (hooks, 1992). African American women, in particular, must deal with stereotypical images of black women in mainstream media that influence their everyday roles in society. Briana McKoy 8 McNair Scholars Research Journal, Vol. 5 [2012], Iss. 1, Art. 10 http://commons.emich.edu/mcnair/vol5/iss1/10 135 Films possess the ability to re-image and refocus what American culture knows to be “real,” particularly pertaining to black culture. To possess this ability is to possess the power to change things (hooks, 1996). The problem with media portrayals is not whether they are “true” or “false,” but rather that they inhibit the production of other meanings or ideas (Bristor, 1995). Feature films involve much more than mere entertainment. Conscious of what is being learned or not, films provide cultural discourse to discuss constructions of race, class, power and sex. In contrast to the negative effects black comedic films may have on its viewers, when it comes to comedic entertainment, Daryl Dance (1998) writes: If there is one thing that has brought African American women whole through the horrors of the middle passage, slavery, Jim Crow, Aunt Jemima, the welfare system, integration...it is our humor. If there is any one thing that has helped us to survive broken promises, lies, betrayals, contempt, humiliations, and dehumanization that have been our lot in this nation and often our families, it is our humor. Tyler Perry has become one of the biggest names in entertainment as a leading figure in black film, theatre, production and direction. As a black celebrity and culture brander, Perry represents much more than himself. The projects that he chooses to release ultimately affect consumers’ perceptions of the black community as a whole. Humor is the outlet Tyler Perry uses to heal from the abuse and strife woven throughout his upbringing. It was through this outlet that his empire was born and thus, the outlet he uses to tell stories of the African American family. His stories rely on a blend of faith and comedy to appeal to a largely female, and largely Christian audience. He claims that the basis of his artistic drive is his passion to tell women’s stories (Ulaby, 2010). Despite his popularity, critics have little positivity to offer pertaining to Tyler Perry’s work. Tyler Perry and the Weight of Misrepresentation 9 McKoy: Tyler Perry and The Weight of Misrepresentation Published by DigitalCommons@EMU, 2012 136 METHODS Significance of Study This study seeks to examine female lead characters in Tyler Perry’s films, as extensions of historically stereotypical depictions of African American women. This study is important because the characters featured in Tyler Perry’s array of films are popular figures in contemporary media particularly pertaining to black culture. Because these figures are so popular across cultural demographics, they are likely to be seen as a representation of black cultural behaviors for those with limited contact with African Americans. These representations are important because of their influence on consumer’s social construction of what is real. This research will contribute to the existing body of work concerning African American stereotypes, and hopefully will encourage other scholars to critically explore Perry’s work. This study employs the qualitative methodology of semiotic film content analysis. The researcher also deemed qualitative methodology to be appropriate for this study to count the number of times the array of stereotypical behaviors and appearances were present throughout Tyler Perry’s work. This study also employs semiotics through content analysis, interpreting behaviors, appearances and dialogue of Perry’s female characters as a sign. The content analysis is derived from five of Tyler Perry’s self-directed films, including: Diary of a Mad Black Woman (2005), Madea’s Family Reunion (2006), Meet the Browns (2009), I Can Do Bad All By Myself (2009), and Madea Goes to Jail (2009). These films were chosen because each story revolves around a black woman. These specific films were also chosen because Tyler Perry’s most recognizable character, Madea, appears in all five of these films. Content analysis is a method used by social scientists to investigate the content of the mass media or other documented sources of information. Content analysis is used to explore various media, such as film, to discover how specific issues are presented. This research includes content analysis as a strategic exercise, counting the number of times a specific quality, or behavior that fit the pre-determined characteristics of a “Mammy,” “Sapphire” or “Jezebel” were seen on screen. Semiotics Analysis, or “The Study of Signs,” also played an important role in assessing African American female characters throughout Briana McKoy 10 McNair Scholars Research Journal, Vol. 5 [2012], Iss. 1, Art. 10 http://commons.emich.edu/mcnair/vol5/iss1/10 137 the samples. Semiotics can be employed as the analysis of all cultural texts (Chandler, 2005). Within the constructs of semiotics, most behaviors can be seen as signifying something. Each sign has meaning within a culture. In this study, all female characters’ behavior, appearance and dialogue were assessed as a sign. Each quality and behavior will be coded by the aforementioned definitions of the “Mammy,” “Sapphire” and “Jezebel,” according to pre-established codes, based upon the researcher’s understanding of these stereotypes (Figure 1). “Mammy” Characteristics “Jezebel” Characteristics “Sapphire” Characteristics Cooking Fair Skin Angry Cleaning In Bed Swearing Feeding Others Consuming Alcohol Violent Gray Wig Unmarried Sassy Nurturing Smoking Insulting Towards Men Caring Engaging in Sexual Intercourse Guarded Giving Advice Dancing Dismissive “Honey” Short Dress Keeps People Distant Glasses Tight Clothing Lonely Big Breasts Sexually Enticing Sharp Tongued House Dress Manipulative Loud Disciplining Children Seeks Attention Mocking Black Men Teaching Manners Attractive Rolling Eyes Masculine Angry Hand On Hip Authoritative Engages with Men For Money Rolling Neck Dimwitted Engages with Men For Drugs Rude Threatening Engages with Men For Pleasure Sarcastic Domineering Accepts Abusive Behavior Internal Conflict Protective Lingerie/ Night Clothes Destructive Faithful Slender Body Shape Referred to as “Ugly”