The Hunger Games, Race & Disappointed Readers

Photo Credit: k-ideas

The Hunger Games, the young adult novel by Suzanne Collins, has not only taken bestseller lists by storm the past several years, but its film adaptation has been the leader at the box office the past few weeks. Released less than three weeks ago, it had the third highest grossing opening weekend in cinematic history and has already generated over $400 million worldwide.

In spite of the immense popularity of the film, some fans of the book have taken to social media to demonstrate their displeasure with what they witnessed on screen.

CNN.com tells the story:

"In "The Hunger Games," wealthy Capitol citizens of all races and ethnicities come together to watch the 74th annual bloodbath of the same name. It seems some present-day moviegoers, however, are a bit less "post-racial." 

Earlier this week, some "Hunger Games" fans tweeted their discontent because the characters of Cinna, Thresh and Rue are played by black actors in the big screen adaptation. This, despite the fact that both Thresh (Dayo Okeniyi) and Rue (Amandla Stenberg) are described as having "dark skin" in Suzanne Collins' novel, while Cinna (Lenny Kravitz) is simply described as having short brown hair. 

Whether fans' remarks -- such as, "Awkward moment when Rue is some black girl and not the little innocent blonde girl you picture" -- stem from poor reading comprehension or intolerance, they're indicative of a larger issue in Hollywood, said Harry M. Benshoff, an associate professor of radio, TV and film at the University of North Texas who co-wrote "America on Film: Representing Race, Class, Gender and Sexuality at the Movies." 

"Hollywood has never been on the forefront of the civil rights movement," said Benshoff, who hasn't read or watched "The Hunger Games." 

Despite certain character descriptions being spelled out in the book, Benshoff said, people typically project themselves onto a character in order to empathize with that person. 

"For a white person reading a book, they're very rarely going to go, 'I'm just assuming this is a black character' if he or she isn't marked as such," he said. "A nonwhite person might project their own identity onto the character."

Even when characters are described by the author as having "dark skin," some readers still assumed that the characters were white. This is just one demonstration of how our own racial prejudices and biases can cause us to not see what is quite apparent to others. All too often Hollywood has represented characters of color with white actors. In this case, Hollywood got it right... but some fans of The Hunger Games didn't.

One fan, whose Twitter handle is not included in order to protect the guilty, tweeted this:

"Call me racist but when I found out Rue was black her death wasn’t as sad.”

Sadly, there is probably more of this sentiment out there than we realize.

To read the complete CNN.com story please click here.

Roman Polanski, Hollywood & Morality

The curious case of film director Roman Polanski has been drawing quite a bit of attention recently as a result of his arrest in Switzerland on charges stemming from something that happened over thirty years ago. In case you're not aware, Polanski, who is an Oscar winner and a highly regarded filmmaker in Hollywood circles, was arrested in 1977 for having sex with a thirteen year old girl after providing drugs and alcohol for her.

After entering into a plea agreement at the time, Polanski spent six weeks in jail for evaluation and was released. Upon learning that he might be sent to jail, he left the United States and has never returned. Polanski has avoided any country that has an extradition treaty with the U.S. and, therefore, has never been fully prosecuted for his crime.

His case has stirred up a lot of controversy as many in the Hollywood establishment have come to his defense and called for his release. But the general public doesn't view Polanski primarily as an Oscar winner. What most of us see is someone that raped a barely teenage girl and has escaped judgment. Paul Harris frames it well:

"The Polanski backlash has spread far and wide. He was never popular at all on the right wing of America's culture, but now middle America is firmly in favour of seeing him in a Californian courtroom. Talk show hosts, radio commentators and newspaper editorials from coast to coast have all insisted that the arrest was long overdue and that Polanski needs to be brought to the US.

"Hollywood people really don't see the world in the same way as average people... that is why there is a backlash," said Mike Levine, a Hollywood PR expert.

But it is perhaps no surprise that the gap between Hollywood and the rest of America has grown so large on this particular case. Because of his long and illustrious career, Polanski is a friend and colleague of nearly all the main players in the film world. They are his confidantes and his peers. His movies have made them stars and helped them to earn millions. They live in the same rarefied world of global fame. "Elite Hollywood culture is protecting one of its own," said Alexander Riley, a professor of sociology at Bucknell University.

It is also speaks to a certain type of Hollywood culture which appears to insist that its top stars are in some ways elevated above the law and should be treated differently to ordinary members of the public.

If Polanski was just an ordinary man instead of a world-famous film director, the bare facts of his case would be likely to elicit little sympathy – especially from the world famous. Hollywood stars seem to be arguing, in some ways, that Polanski's talent should allow him some sort of free pass for his past behaviour. "Hollywood... looks at the Polanski case and says, 'You have to make allowances for genius'," said Gallagher.

Hollywood's elite also functions as a kind of club and Polanski, seen by the elite as a great European auteur director, is a firm member. That requires a certain degree of success but also a great deal of ideological conformity. It is a cliche that Hollywood is uniformly liberal in its politics, but one with more than a dash of truth in it. It is certainly interesting to see the reaction to Polanski's case and compare it with the reaction to Mel Gibson, when he was caught mouthing drunken anti-Semitic abuse.

Gibson, a rare conservative in Hollywood, was brutally condemned by his fellow stars and sent into virtual career exile. Polanski, whose crime is far more serious, has seen a vast outpouring of sympathy. Being a member of the Hollywood club certainly seems to have its privileges.

"The difference between the reaction to Gibson and the reaction to Polanski has been just huge. Huge!" said celebrity interviewer Gayl Murphy. "That says a lot about what Hollywood thinks is important to them."

In some respects, Polanski is a sympathetic figure. A diminutive man who survived the Holocaust and had his second wife, actress Sharon Tate, killed by the Charles Manson gang in 1969, he has certainly gone through his fair share of suffering in life. But his suffering does not give him a free pass to perform criminal acts on young girls. Perhaps those in Hollywood will eventually see this.

Asians on Screen

While flipping through the channels last weekend, I came across a riveting documentary on our local PBS station that chronicles the presence of people of Asian descent on television and in film. The film, The Slanted Screen, focuses specifically on the portrayal of Asian men on the small and silver screens. It gives insight into the long struggle that it has been for Asian filmmakers and actors to break through into mainstream success in American film and T.V.

From the website for the documentary:

"They call Hollywood a "dream factory." And it's an appropriate metaphor. Like dreams, the stories we watch in the dark express our fears and desires. But unlike dreams, they have a powerful and lasting effect on social reality. Movies and the mass media help form our worldview, shape our identities, and define our roles – on screen and off.

Unfortunately, these effects frequently work to the detriment of some groups – including Asian American men. Too often, film and television misrepresent the world they claim to reflect. Their stories revise history, and rationalize inequities. Rather than to portray three-dimension individuals, their characters often manifest prejudice and reinforce bigotry. Moreover, their ubiquitous and persistent messages encourage viewers to internalize confining definitions of identity and self-worth.

Ironically, film and television images extol our fundamental ideals of democracy and equality, and at the same time, betray them. Through interviews, voice-over narration, and a fascinating array of film and television clips, The Slanted Screen chronicles depictions of Asian American men and the culture that shapes them. The one-hour documentary presents film and television images from the turn of the century to the turn of the millennium. The Slanted Screen properly situates these images through historical narration, clips and photos."

In addition to The Slanted Screen, I also came across this article which mentions another documentary, Hollywood Chinese, which focuses on the portrayal of Chinese and Chinese Americans actors in film. Check your local listings for airings on PBS. Thanks to Racialicious for the tip.