Posts tagged the help.

—

~ Yvette Nicole Brown, Essence Magazine (September 2012)

— Martha Southgate on Civil Rights movies (via writingfail)

—

A commenter on “Why I’m Just Saying No to ‘The Help’” (via atrapforfools)

FUCKING THIS. (via so-treu)

Pretty much.  (via kyssthis16)

SO. MUCH. THIS. TIMES. INFINITY. (via squeetothegee)

“White People Solve Racism: You’re Welcome Black People”

[better movie poster for The Help] 

(via The Sociological Cinema)

Dangerous White Stereotypes

…This movie [The Help] deploys the standard formula. With one possible exception, the white women are remarkably unlikable, and not just because of their racism. Like the housewives portrayed in reality television shows, the housewives of Jackson treat each other, their parents and their husbands with total callousness. In short, they are bad people, therefore they are racists.

There’s a problem, though, with that message. To suggest that bad people were racist implies that good people were not.

Jim Crow segregation survived long into the 20th century because it was kept alive by white Southerners with value systems and personalities we would applaud. It’s the fallacy of “To Kill a Mockingbird,” a movie that never fails to move me but that advances a troubling falsehood: the notion that well-educated Christian whites were somehow victimized by white trash and forced to live within a social system that exploited and denigrated its black citizens, and that the privileged white upper class was somehow held hostage to these struggling individuals.

But that wasn’t the case. The White Citizens Councils, the thinking man’s Ku Klux Klan, were made up of white middle-class people, people whose company you would enjoy. An analogue can be seen in the way popular culture treats Germans up to and during World War II. Good people were never anti-Semites; only detestable people participated in Hitler’s cause.

Cultures function and persist by consensus. In Jackson and other bastions of the Jim Crow South, the pervasive notion, among poor whites and rich, that blacks were unworthy of full citizenship was as unquestioned as the sanctity of church on Sunday. “The Help” tells a compelling and gripping story, but it fails to tell that one…

—

Duchess Harris, Kathryn Stockett Is Not My Sister and I Am Not Her Help

LOL.

(via darkjez)

LMAO! Damn.

(via withrevolutionarycries)

so-treu:

LMAO i don’t know what exactly they were dealing with* when this was taken but whatever it is they’re SO ready for it to be over.

*but i can take a guess. “these white folks………”

From Patricia Turner’s NYTimes Op-ed Dangerous White Stereotypes:

…Forty-eight years after Martin Luther King Jr. was accompanied by tens of thousands of black domestic workers to the National Mall in Washington to demand economic justice, it is not all that difficult to render black fictional characters with appealing attributes and praiseworthy talents. What is more difficult to accomplish is a verisimilar rendering of the white characters.

This movie [The Help] deploys the standard formula. With one possible exception, the white women are remarkably unlikable, and not just because of their racism. Like the housewives portrayed in reality television shows, the housewives of Jackson treat each other, their parents and their husbands with total callousness. In short, they are bad people, therefore they are racists.

There’s a problem, though, with that message. To suggest that bad people were racist implies that good people were not.

Jim Crow segregation survived long into the 20th century because it was kept alive by white Southerners with value systems and personalities we would applaud. It’s the fallacy of “To Kill a Mockingbird,” a movie that never fails to move me but that advances a troubling falsehood: the notion that well-educated Christian whites were somehow victimized by white trash and forced to live within a social system that exploited and denigrated its black citizens, and that the privileged white upper class was somehow held hostage to these struggling individuals.

But that wasn’t the case. The White Citizens Councils, the thinking man’s Ku Klux Klan, were made up of white middle-class people, people whose company you would enjoy. An analogue can be seen in the way popular culture treats Germans up to and during World War II. Good people were never anti-Semites; only detestable people participated in Hitler’s cause.

Cultures function and persist by consensus…

Quoted: How Hollywood and The Help Screw Up History

There have been thousands of words written about Stockett’s skills, her portrayal of the black women versus the white women, her right to tell this story at all. I won’t rehash those arguments, except to say that I found the novel fast-paced but highly problematic. Even more troubling, though, is how the structure of narratives likeThe Help underscores the failure of pop culture to acknowledge a central truth: Within the civil rights movement, white people were the help.

The architects, visionaries, prime movers, and most of the on-the-ground laborers of the civil rights movement were African-American. Many white Americans stood beside them, and some even died beside them, but it was not their fight — and more important, it was not their idea.

This isn’t the first time the civil rights movement has been framed this way fictionally, especially on film. Most Hollywood civil rights movies feature white characters in central, sometimes nearly solo, roles. My favorite (not!) is Alan Parker’s Mississippi Burning, which gives us two white FBI agents as heroes of the movement. FBI agents! Given that J. Edgar Hoover did everything short of shoot Martin Luther King Jr. himself in order to damage or discredit the movement, that goes from troubling to appalling.

Why is it ever thus? Suffice it to say that these stories are more likely to get the green light and to have more popular appeal (and often acclaim) if they have white characters up front. That’s a shame. The continued impulse to reduce the black women and men of the civil rights movement to bit players in the most extraordinary step toward justice that this nation has ever known is infuriating, to say the least. Minny and Aibileen are heroines, but they didn’t need Skeeter to guide them to the light. They fought their way out of the darkness on their own — and they brought the nation with them.

–Martha Southgate, The Truth about the Civil Rights Era