All girls really want is oral sex anyway. There is a line, it seems, to discussing racism in pop culture, and for many years, the line has been drawn around white women in a Hocus Pocus type circle of protection. What does it mean when we overlook the racism of white women and then turn them loose on children of color? And yes, I enjoyed it, it was a good, entertaining film, but it definitely was not one of the greatest things ever created and I don't think it deserves quite as much hype as it receives. In the film, Kirsten Dunst appears onscreen looking pinched and frozen and I was relieved to find that this was the version of white womanhood we would be given in the film. The woman who took the little power she had and wielded it hard and viciously. Last year we were blessed with Hidden Figures, which though directed by a white director is based upon the nonfiction book by Black author Margot Lee Shetterly. The idea that a white woman could be anything but generous and pure of intention is never even a consideration for those on the outside looking in. Since that year, the excuse has been made over and over for this white woman:
Awkward Black Girl was one of the first storylines I recall where the violence of white women was addressed head-on and without apology. You are all being used. Is that what the KKK has been teacing you up in Mississippi? I repeat, middle school children. For example, my parents are currently attending the funeral of a 92 year old woman who was beaten to death by a black man. A director of a West Virginia nonprofit was fired and then rehired after posting a hideously racist image depicting First Lady Michelle Obama as an ape. White people tend not to racialize ourselves as it is, preferring instead the vision of Default afforded by supremacist privilege, but this notion of goodness complicates things further when it comes to white women. It is Old Faithful and a very real aspect of white supremacy as it pertains to white womanhood. We like our version of Black people better: And about the whole Julia Stiles getting with black men in movies thing. The protagonist, a biracial woman, watches as Aimee appropriates West African culture and music, wreaks havoc in the village where she envisions building a school for girls, engages in an affair with a young man from the village, and adopts a baby by problematic means and with questionable motivations — all under the guise of just loving Africa so much and being so inspired by it. Get Out is a mirror that forces white women to look ourselves directly in the face, and we better not flinch. I was very surprised to discover Julia Stiles was such a capable, and very skilled ballet dancer - her dancing impressed me far more than her acting in this film which, although wasn't necessarily bad, was more of her same old style - it's as if she plays the same person in each role, who just happens to be in a completely new situation each time. Overall, I did like this film, it was fast paced, intelligent, easy watching, and a welcome change to the recent films I have been watching lately which all feel much slower, and emotionally heavy. In the film, Kirsten Dunst appears onscreen looking pinched and frozen and I was relieved to find that this was the version of white womanhood we would be given in the film. I finally got around to watching 'Save the Last Dance', becoming quite tired of the 'How can you not have seen 'Save the Last Dance', it's the best dance film out there! Youve probably only seen two blacks your entire lives. This explicit naming of racist harm inflicted by white women — and white girls — is critical to an honest discussion of the function of white supremacy. A woman like Carolyn Bryant Donham knew exactly what would happen to a Black boy if she said the correct combination of words, and she went on and spoke them. Sign in to vote. Black youth culture perpetuates violence, period. The subconscious desire of liberal whites to imagine whiteness as nonexistent and therefore powerless and therefore not a factor in their success while, of course, relying on the power it affords assigns white women even further as perpetual witnesses and never perpetrators. Even the dancing - the film's supposed highlight - is poorly shot, so you don't get to see the sequences properly. Stiles insisted on doing all her own ballet, rather than using a body double - an admirable sentiment, perhaps, but someone should've noticed that it made the whole subplot of her being good enough to audition for Julliard rather unbelievable when she's shown stumbling over even simple steps. We do racist harm, then retreat into the protections of both Whiteness and White Woman Goodness, leaving the so-called aggressors to be punished. The woman who took the little power she had and wielded it hard and viciously.
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