It wasnt not racist Netflix documentary charts the troubling rise of

Wednesday, April 20, 2022
author picture Mia Chevalier
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The Netflix Documentary It Wasn't Racist Charts the troubling Rise of Sexism in America

It wasn't always like this‚ but the new Netflix documentary It Wasn't Racist is a timely reminder of how sexism is a big part of our culture. While the movie is framed as a historical narrative‚ it explores institutional racism in the early 20th century through the prism of an oppressively white lens. The film doesn't rattle viewers' composure‚ but rather makes viewers feel guilty‚ which is a far more powerful emotion.

Abercrombie & Fitch was a brand that sold an all-white American dream

The problem with Abercrombie & Fitch relates to the way the company sold that American dream. The company's culture was White-centric and geared toward people of a certain race and class. They promoted sexiness and youth‚ and emphasized the idea of being physically active. But their marketing efforts‚ which often included sexually explicit imagery‚ failed to reach this demographic. The company began in 1892 and once outfitted the greats of the 20th century. By the mid-1970s‚ however‚ the company was bankrupt. The brand was bought by Leslie Wexner‚ a prominent businessman who later hired Mike Jeffries as its CEO. The company has grown to be ubiquitous in Germany. Its salespeople are still predominantly white and able to pass off the brand's product as if it were a high-class fashion brand. In recent years‚ the company's culture has changed. Jeffries's sexy‚ young-looking approach to fashion combined with the Americana of Ralph Lauren's Americana aesthetic. The brand now offers accessible‚ aspirational clothing that appeals to the young‚ urban-based demographic. In addition‚ Jeffries' ruthless management style went beyond its initial white image and extended to darker areas. The story of Abercrombie & Fitch's rise and fall is fascinating. But the company's rise and fall are unsettling‚ and they don't have a clear sense of purpose. A purely white American dream is not something anyone should strive for. In fact‚ it's a brand that was built on the backs of an all-white American dream.

Characters in White Savior films are subservient to a white character's plotline

Many stories of racism have been told in white-centric films‚ and they are often centered on the concept of the White Savior. In recent years‚ the Movement for Black Lives has gained in popularity as a result of the George Floyd and Breonna Taylor killings‚ and the 2011 film The Help saw a resurgence in popularity. It became the most-streamed movie on Netflix. This movie is about a white woman confronting racism in America‚ and it's essentially the same as White Savior films. White savior stories typically focus on a white protagonist‚ and while the plotline may be subservient to a white character‚ the white characters are portrayed as benevolent and selfless. As such‚ the resolution almost always involves personal fulfillment for the white character. The central conflict of a White Savior film is the white hero saving a non-white character or community. This storyline ignores the conflict created by white supremacy. In a white savior movie‚ the white protagonist saves the black community or character‚ while the non-white characters are rendered useless. This type of movie is not realistic or representative of reality‚ and often exploits the lives of black people. The goal of White Savior films is to draw attention to overt racism and oppression. The white protagonist is always congratulated for standing up for the black character. In reality‚ this kind of white supremacy is a very unjust concept. Despite their claims to solve racial injustice‚ they often serve to irritate minority audiences. It's not a good idea to make such movies as White Saviors unless they are made by Black and Latino creators.

Oscar Grant's death is part of a big picture examination of institutional racism in America in the 20th Century

The shooting of Oscar Grant by a White Oakland police officer on New Year's Day 2009 has been widely discussed. There were protests and some even engaged in property destruction. This article examines these events and offers policy recommendations. There is no doubt that these events are part of a much larger picture of institutional racism in the 20th century. But what can we learn from their circumstances? The death of Oscar Grant is an important part of the history of American racism. It reveals the many victims of institutional racism and the era of segregation‚ including people of color and the First Peoples of the Americas. Although there were numerous cases of racist discrimination in the early 20th century‚ it was often a small number of victims who made history. Several of these individuals were immigrants‚ Black people‚ poor Whites‚ or those with disabilities. Aside from Oscar Grant's death‚ the death of other African Americans has an even greater significance. In addition to the racially motivated shootings‚ many white Americans also hold unconscious racial biases and associate people of color with criminality. While this is not entirely accurate‚ it sheds some light on the circumstances of these tragedies. Another example of the racially based homicide is the disproportionate number of black men arrested for marijuana possession. In 2010‚ African Americans were 3.7 times more likely to be arrested for a possession of marijuana compared to their white counterparts‚ and the disparity in arrest rates is further exacerbated by implicit bias and formal police policies.

Crack cocaine is a major part of the story

This Netflix documentary about the history of crack cocaine is a solid work. It provides valuable context for younger audiences‚ relating the drug's history to current socio-political situations. The doc's focus on the black community is compelling‚ but it tends to remain on the margins. Though it provides useful insights into institutional racism‚ it could have used more nuance and incisive language. The film follows the history of the crack cocaine industry for the 1970s and 1980s. Crack cocaine was a highly addictive drug that provided a way out of poverty for African American communities. It was not available in white neighborhoods‚ so it was mainly used by the poor. In big cities‚ people gathered at dealers' doorsteps in order to buy the drug. They even stripped cars of steering wheels to make them harder to steal. Another major part of the story involves crack. While it does touch on the CIA's involvement in the crack trade‚ it does not address the corruption of police. The film doesn't address the role of the CIA in the drug trade‚ a subject which was widely covered by the San Jose Mercury News in 1996. The CIA was reportedly supplying funding to the Nicaraguan Contras in their war against the Sandinista government. The Netflix documentary It wasnt not racist explores the racial double standards that are present in the criminal justice system. This history is reflected in the story of Dannis Billups‚ a black man who got hooked on crack after suffering from a childhood nightmare. Eventually‚ he joined the family trade of peddling crack cocaine‚ making money from other people's addictions.

The Emorys aren't real people

In addition to focusing on the racism experienced by Black people in the U.S.‚ Them also depicts daily life for Black Americans and highlights the actions taken to keep themselves safe. The series centers around the Emory family‚ with the oldest daughter‚ Ruby Lee‚ being mocked at high school and portrayed as a breeder‚ a threat to white purity‚ and the youngest daughter‚ Gracie Jean‚ growing up in a predominantly white neighborhood. During the Great Migration‚ the Emory family moved to a new town and had to leave their old homes‚ and the Emorys are constantly reminded to keep their vernacular. As a new resident in the neighborhood‚ the Emory family has to watch their son Joey‚ who is a victim of addiction. While Emory is trying to make sure that his life is in order‚ she feels invisible. Despite this‚ she has a crush on Gage‚ the neighbor next door. Emory feels good when someone notices her‚ but if no one does‚ she feels worthless. The Emorys aren't really real people‚ but that doesn't make them less frightening! Despite the show's realism‚ the Emorys aren't real‚ but the plot is based on historical fact. The Emorys are a family of Black people who moved to Los Angeles in 1953. They are now part of an all-white community called East Compton. While there are some white residents unhappy with their new neighbors‚ they are also forced to deal with a literal demon. The Emorys aren't really real people‚ but the fictional family has a complicated relationship with race and racism. Their founders admitted to renting out people who were enslaved. The Emorys aren't real people