The society of magical black people in the United States is a complex and multi-faceted topic that warrants careful examination. Within the realm of fiction and fantasy literature, the portrayal of black characters with supernatural abilities has been a subject of interest and discussion. These representations often serve as a means of challenging stereotypes and redefining traditional narratives around race and power. **The main idea is that the society of magical black people in the United States is a rich and diverse subject within fiction and fantasy literature, providing opportunities for exploration and cultural reimagining.** Historically, black characters in literature, particularly in the fantasy genre, have often been relegated to supporting roles or depicted as exotic mystics. However, in recent years, there has been a noticeable shift towards more nuanced and empowered portrayals of magical black people.
However, in recent years, there has been a noticeable shift towards more nuanced and empowered portrayals of magical black people. Writers such as N.K.
The 'Magical Negro' Trope Makes a Comeback in Two New Movies
Hollywood has a long history of portraying people of color as wise or exoticized figures whose only function is to assuage white guilt.
Eddie Murphy, his partner Paige Butcher (L) and members of his family applaud as he takes his seat for the Mark Twain prize for Humor honoring him at the Kennedy Center in Washington October 18, 2015. JOSHUA ROBERTS / Reuters
Sept. 1, 2016, 7:16 PM UTC / Updated Sept. 1, 2016, 7:16 PM UTC By Adam HowardThe trailer for the upcoming Renee Zellweger film "Same Kind of Different as Me" is generating a lot of buzz — and not just because of the uncomfortable ongoing debate over whether she has surgically altered her appearance — but in part over the presence of what some have called a "magical negro" in the film.
The term, first attributed to director Spike Lee in the early-2000s, refers to films that usually feature a lone, saintly black character in a predominately white universe who, either through supernatural or just plain saccharine means, only serve to enrich the lives of white characters.
Zellweger's film, which ironically comes out during Black History Month next year, is already being widely ridiculed for a plot involving a misunderstood homeless black man (played by actor Djimon Hounsou, no stranger to these types of roles) who helps a well-to-do white couple (played by Zellweger and Greg Kinnear) grow romantically closer and more conscious of class.
This film is arriving around the same time as "Mr. Church" — Eddie Murphy's first big screen role in four years — in which he plays a kindly cook who spends the better part of his life feeding and then financially supporting a white family. Early reviews have suggested that while Murphy turns in a fine performance, the film's racial politics feel like a reactionary step backwards.
"Even 150 years after slavery has ended, white people still feel more comfortable with a black person if they don't have to recognize their full humanity," Jonathan Braylock, an actor and one of the co-hosts of the "Black Men Can't Jump (In Hollywood)" podcast, told NBC News. "This is why films that deal with slavery or films that have a magical negro are the most rewarded by prestigious institutions. They only explore the outer edges of the black experience and refuse to recognize that being black is normal."
Hollywood has a long history of portraying people of color as preternaturally wise or exoticized figures whose only function is to assuage white guilt or make pithy statements about our collective humanity, but in the last few decades there appears to have been an uptick in these sorts of films.
Lee's grumbling about "magical Negroes" came amid a spate of films that included "The Family Man," "The Green Mile," and "The Legend of Bagger Vance," all of which featured black characters with mystical powers that were employed entirely for the benefit of white leads.
"Those movies were kind of horribly accurate reflections of a society dealing the with the ramifications of integration," argues actor Chris Myers, a Juliard-trained, Obie Award winning seven-year veteran of the industry. "Those movies are a reflection of this kind of popular idea that whiteness is standard . benevolent, and it is our job as a society to gravitate towards that center."
"There was this promise of whiteness," he added. "I think even many black people kind of suspected or believed and hoped it was true. The stunning urgency of Black Lives Matter is kind of an affront to that kind of institution."
In recent years, much louder criticism has been lobbed at movies like "The Blind Side" — in which a black character only gets to experience familial life due to the largesse of whites, and he in turn provides "teachable moments" for his benefactors on the issue of race.
That film, like "Mr. Church" and "Same Kind of Different as Me," is loosely based on a true story, but that may offer little comfort to audiences of color who have been clamoring for more and better representation in the wake of the #OscarsSoWhite controversy of earlier this year.
For the last two years, not a single actor of color has been nominated for Hollywood's top honors.
The irony is that films like these often are popular with the Academy Awards. For instance, the late Michael Clarke Duncan was nominated for his role in "The Green Mile," and Sandra Bullock actually took home the Best Actress statuette for her work in "The Blind Side."
In another ironic twist of fate, "Mr. Church" is directed by Bruce Beresford, whose 1989 film "Driving Ms. Daisy" is the Best Picture winner often cited as a hallmark of the "magical negro" genre. Meanwhile, Spike Lee's seminal "Do the Right Thing," released the same year, wasn't even nominated for the top prize.
"Audiences will always go and see what is familiar. Since so many white people do not truly know black families, their only experience of black people is through movies," said Braylock. "So if your experience of a black man is Michael Clark Duncan in 'The Green Mile,' it makes you feel good about yourself for liking black people, even if it's a problematic stereotype. I mean, if I'm on a highway and the only thing I see to eat is McDonalds . hell, I will eat that before Joe Blow's Burger Shack any day because I know what I'm getting when I roll up on those golden arches."
Still, this awards season there will be plenty of alternative takes on the black experience — from Nate Parker's already controversial but acclaimed Nat Turner biopic "The Birth of Nation" to "Hidden Figures," starring Taraji P. Henson, Janelle Monae and Octavia Spencer as black women who played a crucial behind the scenes role in the early era of NASA's space program.
Although Myers laments the fact that the top studio executives are still overwhelmingly white and male, or that the Hollywood machine has always prized profits over art, he has reason to believe the business is substantively moving in the right direction on race and that 'magical negro' movies will soon be a relic of the past, if they're aren't already.
"I definitely have a lot of optimism," Myers said. "I believe the 'Black Lives Matter' cry is invariably going to have a number of responses. As [studio executives] continue to make missteps, we on other side will continue to critique them."
He is convinced that "Mr. Church" is going to "bomb," and that "Birth of a Nation," will be "triumphant" if for no other reason because audiences are getting increasingly "fed up" with the mythologizing of "the other." And not just when it comes to race — but in terms of gender and sexual identity, too.
"It's not like these people are intentionally perpetuating these stereotypes," said Myers, "In life we don't often look at 'the other' and understand that their lives are just as complex as ours."
Jim in The Adventures of Huckleberry Finn.
Jemisin, Nnedi Okorafor, and Tomi Adeyemi have crafted narratives that center around black characters with supernatural abilities, allowing them to take center stage and define their own stories. These authors explore themes of identity, discrimination, and cultural heritage, challenging the reader's preconceptions about race and power dynamics. In many of these narratives, the magical abilities of black characters are closely tied to their cultural roots and ancestral traditions. This emphasis on the connection between magic and cultural heritage serves to highlight the richness and diversity of black experiences. It also provides an opportunity for black readers to see themselves reflected in the fantastic and allows for the exploration of complex themes of belonging and cultural preservation. The society of magical black people in the United States also intersects with broader discussions around representation and diversity in literature. The inclusion of black characters with magical abilities challenges the often monolithic and Eurocentric norms of the fantasy genre. By presenting magical black people as powerful and capable, these narratives disrupt stereotypes and contribute towards a more inclusive and representative literary landscape. It is worth noting, however, that the portrayal of magical black people is not without its critiques. Some argue that the use of magical abilities as a means of empowerment may perpetuate the idea that black people need supernatural powers to overcome oppression and discrimination. Others contend that these portrayals can inadvertently reinforce racial stereotypes by emphasizing the exceptional nature of black characters' abilities. In conclusion, the society of magical black people in the United States is a rich and diverse subject within fiction and fantasy literature. **The main idea is that the portrayal of black characters with supernatural abilities challenges stereotypes and redefines traditional narratives, allowing for exploration of identity, cultural heritage, and representation.** While there are valid critiques of these portrayals, they also provide an opportunity for cultural reimagining and the creation of more inclusive narratives. As the realm of literature continues to evolve, it is important to critically engage with these representations and celebrate the possibilities they offer for diverse storytelling..
Reviews for "The Magical Resistance: Black People as Agents of Change in America"
1. Sarah - 2 stars - I was really excited to read "The Society of Magical Black People in the United States" because the concept seemed unique and intriguing. However, I was disappointed with the execution. The characters felt underdeveloped, and the plot lacked depth. Additionally, the magical elements were poorly incorporated into the story and seemed more like an afterthought. Overall, the book fell short of my expectations and failed to captivate me.
2. Robert - 1 star - I couldn't even finish "The Society of Magical Black People in the United States" because it was so poorly written. The prose was clunky and awkward, making it difficult to immerse myself in the story. The dialogue was absurd and unrealistic, and the pacing was all over the place. I also found the portrayal of the magical black community to be clichéd and lacking nuance. It's a shame because the concept had potential, but the execution was a complete letdown.
3. Jennifer - 2 stars - While I appreciate the effort to showcase a diverse and magical black community, I found "The Society of Magical Black People in the United States" to be overly simplistic and stereotypical. The characters felt one-dimensional and their motivations were poorly explored. The plot meandered aimlessly without a clear direction. Additionally, the world-building left much to be desired, lacking the depth and intricacy that magical societies often have in other fantasy novels. Overall, it was a missed opportunity to create a nuanced and compelling story.