Scarlett Johansson joins criticism of Golden Globes body amid accusations of racism and sexism
The actor Scarlett Johansson urged the film industry on Saturday to “step back” from the Hollywood Foreign Press Association as criticism of the opaque film industry group, which controls the influential Golden Globe awards, continues to mount for sexism and racism.
In a carefully worded statement, the Avengers star said the “HFPA is an organization that was legitimized by the likes of Harvey Weinstein to amass momentum for Academy recognition.”
Johansson said that “as an actor promoting a film”, participating in the organization’s press conferences and award shows “has often meant facing sexist questions and remarks by certain HFPA members that bordered on sexual harassment”.
“Unless there is necessary fundamental reform within the organization, I believe it is time that we take a step back from the HFPA,” she added.
The actor’s stance follows a letter from the Netflix CEO, Ted Sarandos, on Friday to the organization stating that the streaming giant will not participate with the Globes unless the group pledges to reform itself.
That was followed by the Amazon Studios chief, Jennifer Salke, who said in a statement that Amazon had “not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward”.
A day earlier, about 75 of the insular HFPA’s 86 members voted for an inclusion and overhaul proposal put forward by the group’s board. In February, it was revealed that the group had no Black members. In March, a former HFPA president was found to have referred to Black Lives Matter as a “racist hate movement” and its co-founder Patrisse Cullors as a “self-proclaimed ‘trained Marxist’”.
In his letter, Sarandos said he had hoped the organization “would acknowledge the breadth of issues facing the HFPA” but did not believe these proposed new policies would “tackle the HFPA’s systemic diversity and inclusion challenges”.
As a result, he said, Netflix was “stopping any activities with your organization until more meaningful changes are made.”
Netflix carries considerable weight at the Golden Globes, with 42 nominations this year and six wins, including for The Crown, The Queen’s Gambit and Ma Rainey’s Black Bottom.
Separately, nearly 100 PR firms representing the film industry said they would “continue to refrain from any HFPA sanctioned events, including press conferences, unless and until these issues are illuminated in detail with a firm commitment to a timeline”.
The Time’s Up president, Tina Tchen, called the organisation’s reform proposals “window-dressing platitudes”.
The HFPA has for years acted as forerunner to the Academy Awards, and in some ways is used for industry promotion and politicking for the later ceremony. But a devastating Los Angeles Times exposé earlier this year, portrayed the HFPA as a pseudo-slush fund for semi-retired, foreign-credentialed and often obscure film industry reporters and critics.
The actor Scarlett Johansson urged the film industry on Saturday to “step back” from the Hollywood Foreign Press Association as criticism of the opaque film industry group, which controls the influential Golden Globe awards, continues to mount for sexism and racism.
In a carefully worded statement, the Avengers star said the “HFPA is an organization that was legitimized by the likes of Harvey Weinstein to amass momentum for Academy recognition.”
Johansson said that “as an actor promoting a film”, participating in the organization’s press conferences and award shows “has often meant facing sexist questions and remarks by certain HFPA members that bordered on sexual harassment”.
“Unless there is necessary fundamental reform within the organization, I believe it is time that we take a step back from the HFPA,” she added.
The actor’s stance follows a letter from the Netflix CEO, Ted Sarandos, on Friday to the organization stating that the streaming giant will not participate with the Globes unless the group pledges to reform itself.
That was followed by the Amazon Studios chief, Jennifer Salke, who said in a statement that Amazon had “not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward”.
A day earlier, about 75 of the insular HFPA’s 86 members voted for an inclusion and overhaul proposal put forward by the group’s board. In February, it was revealed that the group had no Black members. In March, a former HFPA president was found to have referred to Black Lives Matter as a “racist hate movement” and its co-founder Patrisse Cullors as a “self-proclaimed ‘trained Marxist’”.
In his letter, Sarandos said he had hoped the organization “would acknowledge the breadth of issues facing the HFPA” but did not believe these proposed new policies would “tackle the HFPA’s systemic diversity and inclusion challenges”.
As a result, he said, Netflix was “stopping any activities with your organization until more meaningful changes are made.”
Netflix carries considerable weight at the Golden Globes, with 42 nominations this year and six wins, including for The Crown, The Queen’s Gambit and Ma Rainey’s Black Bottom.
Separately, nearly 100 PR firms representing the film industry said they would “continue to refrain from any HFPA sanctioned events, including press conferences, unless and until these issues are illuminated in detail with a firm commitment to a timeline”.
The Time’s Up president, Tina Tchen, called the organisation’s reform proposals “window-dressing platitudes”.
The HFPA has for years acted as forerunner to the Academy Awards, and in some ways is used for industry promotion and politicking for the later ceremony. But a devastating Los Angeles Times exposé earlier this year, portrayed the HFPA as a pseudo-slush fund for semi-retired, foreign-credentialed and often obscure film industry reporters and critics.
As 2022 begins, and you're joining us from Brazil, there’s a new year resolution we’d like you to consider. We’d like to invite you to join more than 1.5 million people in 180 countries who have taken the step to support us financially – keeping us open to all, and fiercely independent.
In 2021, this support sustained investigative work into offshore wealth, spyware, sexual harassment, labour abuse, environmental plunder, crony coronavirus contracts, and Big Tech. It enabled diligent, fact-checked, authoritative journalism to thrive in an era of falsehood, sensation, hype and breathtaking misinformation and misconception.
In 2022, we’ll be no less active, with a cluster of elections (France, Brazil, the US to say the least), economic pinch points, the next phase of the pandemic, the gathering climate emergency and the first ‘winter World Cup’ to keep us busy.
With no shareholders or billionaire owner, we can set our own agenda and provide trustworthy journalism that’s free from commercial and political influence, offering a counterweight to the spread of misinformation. When it’s never mattered more, we can investigate and challenge without fear or favour.
Unlike many others, Guardian journalism is available for everyone to read, regardless of what they can afford to pay. We do this because we believe in information equality. While others commoditise information, we seek to democratise it. Greater numbers of people can keep track of global events, understand their impact, and become inspired to take meaningful action.
If there were ever a time to join us, it is now. Every contribution, however big or small, powers our journalism and sustains our future. Support the Guardian from as little as $1 – it only takes a minute. If you can, please
As 2022 begins, and you're joining us from Brazil, there’s a new year resolution we’d like you to consider. We’d like to invite you to join more than 1.5 million people in 180 countries who have taken the step to support us financially – keeping us open to all, and fiercely independent.
In 2021, this support sustained investigative work into offshore wealth, spyware, sexual harassment, labour abuse, environmental plunder, crony coronavirus contracts, and Big Tech. It enabled diligent, fact-checked, authoritative journalism to thrive in an era of falsehood, sensation, hype and breathtaking misinformation and misconception.
In 2022, we’ll be no less active, with a cluster of elections (France, Brazil, the US to say the least), economic pinch points, the next phase of the pandemic, the gathering climate emergency and the first ‘winter World Cup’ to keep us busy.
With no shareholders or billionaire owner, we can set our own agenda and provide trustworthy journalism that’s free from commercial and political influence, offering a counterweight to the spread of misinformation. When it’s never mattered more, we can investigate and challenge without fear or favour.
Unlike many others, Guardian journalism is available for everyone to read, regardless of what they can afford to pay. We do this because we believe in information equality. While others commoditise information, we seek to democratise it. Greater numbers of people can keep track of global events, understand their impact, and become inspired to take meaningful action.
If there were ever a time to join us, it is now. Every contribution, however big or small, powers our journalism and sustains our future. Support the Guardian from as little as $1 – it only takes a minute. If you can, please
font images google
https://www.theguardian.com/film/2021/may/08/scarlett-johansson-hollywood-foreign-press-association-golden-globes
Asian Hollywood Stereotypes
UNFAIR AND HARMFUL PORTRAITS OF EAST ASIANS
Ten stereotypes almost exclusively used Asians in Hollywood and the media:
- perpetual alien
- martial arts
- Model Minority
- Nerd / Geek
- Sexualized female gender-racism, asexual male and sanctioned racial gender coupling
- inferior and subordinate
- Mystic
- Archvillain, Dragon Lady or Yellow Peril
- Caricature, Bizarre and/or Unfathomable Yellowface
- Voluntary targets / open defamation deserving
White wife | black wife | asian wife | Other Wife | |
White Husband | 50,410 | 168 | 529 | 487 |
Black Husband | 390 | 4072 | 39 | 66 |
asian husband | 219 | 9 | 2855 | 28 |
Another Husband | 488 | 18 | 37 | 568 |
- Repetitive advertising increases market share and has an impact on brand awareness in the general public. Likewise, when stereotyped themes and images are shown repeatedly, either overtly or subliminally, they increase the general public's cognitive investment in the stereotype. Stereotypes are false or misleading generalizations about groups of detainees in a way that renders them largely, though not entirely, immune from reproof. Stereotypes have a homogenizing effect and powerfully shape the perception of stereotyped groups, causing stereotyped characteristics. of being "seen" even when they are not present, and the inability to see evidence to the contrary when such evidence is present.
- Stereotypes and Stereotypes: A Moral Analysis, by Lawrence Blum, Philosophical Papers Vol. 33, No.3 (Nov. 2004): p. 251-289, - In 1995, the federal government's Glass Ceiling Commission found that Asian Americans earn less money than whites in many occupational categories — even after controlling for educational attainment, immigrant status, and other variables. In strict social science terms, the data is robust: Asian Americans and whites are not treated equally and that difference can be attributed either to race or nothing at all.
- A Longitudinal Test and a Qualitative Field Study of the Glass Ceiling Effect for Asian Americans -chen, Tina T. (Department of Psychology, Pennsylvania State University) (May 2004)
- The handful of movies and TV shows (typically not Hollywood or mainstream American productions) that are an exception to the rule, that portray an Asian male as having consummated a relationship with a Caucasian woman, include:
i) The One [2001] - Directed by James Wong, the film's main character, Yulaw (Jet Li), has a white woman, but he is not portrayed in a sexual light (there are no bedroom scenes) normally accorded to other Caucasian male actors.
ii) The Ballad of Little Jo [1993] - The true story of a society woman who tried to escape the stigma of having a child out of wedlock in the late 1800s by going West and living undercover as a man. The historical film sticks to the truth about the secret romance that developed between her and a Chinese outcast named Tinman Wong, who discovered that she was indeed a woman.
iii) Mao's Last Dancer [2009] - Australian (non-Hollywood) film based on the autobiography of the same name, written by Li Cunxin. Probably due to the author's direct influence and morals rights while ensuring strict adherence to his account of the story, the film faithfully re-enacts his relationships with and convenience in at least two Caucasian women in his life, both of whom he has married. iv) The Mentalist [2010] - Although Detective Kimberly Cho fills the traditional role of sidekick and a model minority citizen who silently talks about her business of serving and supporting Caucasians who lead and solve crimes, Cho is also shown to have a relationship with a Caucasian woman, albeit one who is a confused prostitute, and they eventually break up. Cho is also emotionally stunted to some degree and is inscrutable - still fitting perfectly within Asian stereotypes. V) Ramen girl [1993] - The story alludes to (there are no actual bedroom scenes normally granted to Caucasian actors) a Japanese man as being romantically desirable and as having consummated a relationship with a Caucasian woman living in Japan. vi) Shanghai Kiss [1993] - One of the only United States (non-Hollywood production) films in which an Asian male is portrayed as sexually desirable and consummating a relationship with a Caucasian female—an act that is not just mentioned, but displayed on screen. Ken Leung plays the role of an unsuccessful Chinese American actor residing in Los Angeles who is sexually desirable and successful in one night, but who has relationship phobias and unintentionally gets (nonsexually) involved with an underage high school girl. Although the film sets the tone for confronting Asian male stereotypes, it subsequently fails in these respects, making its message clear by, in fact, perpetuating the stereotypes. vii) Rising Sun [1993] - Although a Japanese man is shown having sex with a Caucasian woman, he is a seedy character who is the epitome of the devouring Yellow Peril Asian Yakuza, and she is a professional escort aka high-end prostitute, whom he respects Japanese as "a woman doesn't matter." The sex involves auto-erotic asphyxiation, which initially appears to result in her death. The film highlights the dagerous and illicit nature of Asian men having sex with a Caucasian woman. NOTE: Many movies produced by Japanese actor Sessue Hayakawa in the silent film era he portrayed an Asian male as sexually attractive. In the early 1900s, Hayakawa, who was tired of typecasting, lent $1 million to a production company. He subsequently managed content, produced, starred in, directed, and contributed to the design, writing, and editing of films that were highly influential in the American audience's perception of Asians. Hayakawa refused to adopt negative stereotypes and abandoned Hollywood for European cinema, where he was treated equally. However, it should also be noted that Hayakawa was, at most, a reproduction of a novel. object - not a sex object. Hayakawa's popularity, romantic appeal, and extravagant lifestyle fueled tension within segments of American society and resulted in a backlash from discriminatory stereotypes and the desexualization of Asian men in American productions—something that persists in Hollywood today. - The Asian American Male Struggle to End Hollywood Genderization [Accessed: September 2012]
- "For Asian men, the discourse of domination focused largely on the 'feminine' East opposed to the 'masculine' West. Historical projects that have impeded Asian American family formations and excluded Asian men from the 'masculine' labor market of the West, have simultaneously produced an image of Asian men that has both racial and gender implications... Additionally, popular media portrayals of more emasculated Asian and even Asian American men... at their best, effeminate closet queens like Charlie Chan and, in the their worst, [were] homosexual threats like Fu Manchu... Given this tendency to view Asian men through the prism of femininity "[. geisha of a different type:
- Restrictive Representations of Asians in the Media and How to Balance Them - A MANAA Memo to Hollywood: ASIAN STEREOTYPES [Accessed 2007]
- Ugly Betty and Entourage cast Asian men as flamboyant and castrated homosexuals.
- Yellowface: Asians on White Canvas [Accessed September 2012]
- Perpetuating the Yellow Peril - In These Times [Accessed September 2012]
- Totally lost in translation - The Guardian, UK [Accessed September 2012]
- "We've been portrayed as inscrutable villains and asexualized eunuchs. Even Jackie Chan in his movies rarely gets to kiss his female lead." - Actor Daniel Dae Kim, who played at least fifty roles on television and had never gotten to kiss a woman on screen until the ABC TV series, lost.
- Is "Gangnam Style" a hit because of our Asian stereotypes?
- What does it mean for Gangnam Style (a) United States? - Crystal Anderson, Assoc. Prof., Elon University Editor-in-Chief, KPK: Kpop Kollective editorialist / Asst. Chief Ed., Hellokpop
- PSY and the Acceptable Asian Man
- Yo, is that racist? 2 Broke Girls and a New Long Dong of Duk We Never Asked To
- Social relations in post-industrial societies are both gendered and racialized, and gender identities are negotiated as part of a larger sociocultural framework that reproduces beliefs about racism, sexism, gender roles, and the relationships between genders and racial groups. (Parker, 2004).
- In Western societies, the intersection of race and gender inequality creates certain structures that result in racial oppression that is gendered and gendered oppression that is racialized, in a process of gendered racism by which Asian females are made available to men. whites at the same time reaffirming the dominant position of white heterosexual masculinity This process is perpetuated by the mainstream media, where the scheme of gendered racism is promoted and produced. Exaggerated stereotypes of Asian females, such as hypersexuality, sexual availability, and submission, serve to perpetuate these racialized gender roles placed upon women of Asian descent in Western societies (Pyke, 2004).
- Several dating sites deal with the subject of the difficulty of Asian men finding acceptance among Caucasians, for example: Dating 101: Dealing with the Racing Factor [web archive: last accessed Feb 2010]. Other data suggest the absence of a predominant preference for Asian women for Asian male partners. There is much to indicate that the discrepancy in marriage numbers between Asian men and Asian women arises primarily from the lack of acceptance of Asian men, and that the high values for Asian male-female pairing do not necessarily arise from a prevaling preference of Asian females to men. asians.
- Approval Institute: Survey of Korean Adult Adoptees
- Rules of Attraction: Why Men Marry White Women and Asian Asian Men Don't Marry White Women
- Cinema can't keep up with Hayakawa's footsteps
- Gender racism: Asian female stereotypes in white media
- Lecture looks at stereotypes of Asians
- Hawaii Five-O: Helping or Hurting Asian Americans?
- Breaking Asian American Stereotypes
- What's so 'cringeworthy' About Long Duk Dong on 'Sixteen Candles'?
Comentários
Postar um comentário