Tumblr page for Racebending.com - Media Consumers for Entertainment Equality.

Please feel free to browse our tumblr page for the latest community-sourced information about media representation in Hollywood.

Reblogged from bluepeets  1,150 notes

People ask, ‘So, how are the roles now? You must be getting so many.’ And it’s like, I don’t know if you know, but I’m Asian still,” Yeun told TheWrap earlier in July, laughing. “It’s not a complaint, that’s just how it is now, and I have to forge my own path through it and see that through. I think that if I had not been Asian, I probably would have a whole plethora of roles, at least to audition for, but it’s just not what has been written.

By ‘Walking Dead’ Star Steven Yeun Is Writing and Producing His Own Projects to Create Better Roles For Asian Actors (via bluepeets)
Reblogged from cindymayweather  67,234 notes

cindymayweather:

"One fun fact I learned while on the air with Keith Olbermann was that humans on the Internet are scumbags. People say children are cruel, but I was never made fun of as a child or an adult. Suddenly, my disability on the world wide web is fair game. I would look at clips online and see comments like, "Yo, why’s she tweakin?" "Yo, is she retarded?" And my favorite, "Poor Gumby-mouth terrorist. What does she suffer from? We should really pray for her." One commenter even suggested that I add my disability to my credits: screenwriter, comedian, palsy."

Maysoon Zayid on TEDWomen (x)

Reblogged from kamustakanamare  512 notes

kamustakanamare:



White Feminist Science Fiction as Cinéma Verité, or what else is fuckin’ new: vulnerable white girl aesthetically brutalized at the hands of stock character Asian crime mobsters (apparently in Taipei, but the boss seems to be played by Choi Min-sik, super-recognizable Korean actor from Park Chan-wook’s Vengeance trilogy, but ssshhh, all Asians and their crime syndicates are interchangeable, see also: who-the-fuck-cares-about-the-baddie). Suddenly-superhuman white heroine indiscriminately kills taxi drivers according to whether or not they speak English (it’s feminist revenge narrative, everybody, everyone benefits from more badass white women!).

Also, some general things white people say/do/expect when they’re traveling outside the West, i.e. these bits of the trailer were practically documentary realism:

1— “YOU SPEAK ENGLISH? TAKE ME TO THE HOSPITAL NOW.”

2— Interrupting surgery (who cares who’s on the table when it’s not me) and ordering doctors to attend to her first.

3— Condescending to Morgan Freeman’s character because white woman who just got magical powers yesterday definitely outranks black specialist’s lifetime of scientific research, expertise, devotion.

4— “I can feel every living thing”—along with every other Eat, Pray, Love turista rhapsodizing about connectedness to the universe while the POC around get stomped on.

5— “Since when did you start writing Chinese?” Familiar hard, imperious stare of a white person who’s taken one class in an Ethnic Studies department: “Since an hour ago.”

Ends with Johansson’s character telepathically bodying everybody in a hallway and approaching Amr Waked’s character. Cut to black, but you know what’s going to happen. And even if there’s a twist in the film and he survives, you know what’s already happened, in this trailer, this moment, which is that viewers had to bear witness to the implication of absolute fatal doom for Waked’s character, as Lucy approaches with a businesslike determination that would make Sheryl Sandberg’s ilk proud.

"I’m not even sure mankind is ready for her," intones the voiceover from Morgan Freeman’s character. If by mankind Freeman’s character means POC humanity, and by her, he means the terror of asymmetrical Western warfare in the twenty-first century guise of white feminism, then, well, it’s not a question of being ready or not being ready. The very nature of this well-worn dynamic, this righteous weaponized indifference to certain survivals and humanities when it comes to aggrandizing their own, is about storming in and obliging people to be “ready.” White supremacy behaves as though its beneficiaries have supernatural powers that allow them unlimited access to and power over the lives of others? That particular science fiction story has another name: modernity. See also: coloniality, imperialism.

P.S. No, the ultimate superheroine Lucy will of course forever be the one from Jamaica Kincaid’s Lucy. I think especially of the scene in which Lucy marvels at the way her white employer, Mariah—another classic white feminist character of 20th century literature—tries to talk about her own “Indian” blood, as if it’s a superpower (the ‘I’m 1/16th Cherokee’ thing white people do):


Mariah says, “I have Indian blood in me,” and underneath everything I could swear she says it as if she were announcing her possession of a trophy. How do you get to be the sort of victor who can claim to be the vanquished also?



SAG OR NON UNION CASTING NOTICE FOR FEMALES-ALL ETHNICITIES- from the late 80’s. Shoots on “Straight Outta Compton”. Shoot date TBD. We are pulling photos for the director of featured extras. VERY IMPORTANT – You MUST live in the Los Angeles area (Orange County is fine too) to work on this show. DO NOT SUBMIT if you live out of the area. Nobody is going to be flying into LA to do extra work on this show - and don’t tell me you are willing to fly in.

SAG OR NON UNION FEMALES - PLEASE SEE BELOW FOR SPECIFIC BREAKDOWN. DO NOT EMAIL IN FOR MORE THAN ONE CATEGORY:

A GIRLS: These are the hottest of the hottest. Models. MUST have real hair - no extensions, very classy looking, great bodies. You can be black, white, asian, hispanic, mid eastern, or mixed race too. Age 18-30. Please email a current color photo, your name, Union status, height/weight, age, city in which you live and phone number to: SandeAlessiCasting@gmail.com subject line should read: A GIRLS

B GIRLS: These are fine girls, long natural hair, really nice bodies. Small waists, nice hips. You should be light-skinned. Beyonce is a prototype here. Age 18-30. Please email a current color photo, your name, Union status, height/weight, age, city in which you live and phone number to: SandeAlessiCasting@gmail.com subject line should read: B GIRLS

C GIRLS: These are African American girls, medium to light skinned with a weave. Age 18-30. Please email a current color photo, your name, Union status, height/weight, age, city in which you live and phone number to: SandeAlessiCasting@gmail.com subject line should read: C GIRLS

D GIRLS: These are African American girls. Poor, not in good shape. Medium to dark skin tone. Character types. Age 18-30. Please email a current color photo, your name, Union status, height/weight, age, city in which you live and phone number to: SandeAlessiCasting@gmail.com subject line should read: D GIRLS

By Actual casting call language used by a Hollywood production for “Straight Outta Compton” distributed by Sande Allesi casting.
Reblogged from taipeitofu  688 notes
    Anonymous asked
    you should look at the trailer for the movie "lucy" it seems like something u would like

    Answer:

    raptorific:

    I’ve seen the trailer, but I lost interest just around the time I saw a white lady straight-up murder an Asian man for not speaking English, and she’s supposed to be the protagonist

Reblogged from milesabovepeter  8,768 notes

Right now we have an X-Men franchise that has sidelined Kitty Pryde, completely mishandled Storm, Emma Frost and Rogue, robbed Jean Grey of any agency, and has yet to properly introduce Psylocke, Jubilee and Polaris.

The latest film does feature a number of non-white characters, but every single one of them (Storm, Blink, Sunspot, Warpath, Bishop) is relegated to outside guard duty while all of the white characters (Xavier, Magneto, Kitty, Wolverine) handle the important, emotion-heavy, world-saving work.

There’s even been a surprisingly anti-international slant towards one of the most international teams in comics as Colossus, Banshee, Quicksilver and Storm all lost their cultural identities in the transition from page to screen.

By

Brett White from CBR: in order for the X-Men to survive, they need to diversify.

p.s.

First, Bryan Singer has to go. This may come as a surprise considering that I just heaped a ton of praise on the director’s latest film, but I’ve done so while also purposely avoiding mentioning his name. Based on the sexual abuse allegations currently piling up around him, I just feel icky — an understatement — giving the guy any praise.”

(via milesabovepeter)
    riseofthemoose asked
    Ok but with the impossible, first of all the area where the tsunami hit was in a HUGE tourist location, as in thousands of tourists were in the city when it hit, a lot of them white. Also, they chose to follow the story of that particular family bc of the seemingly impossible miracles that brought a family together after surviving one of the most devastating events in history, they didn't do it bc they're white. I know white washing is a huge problem, but this movie isn't a good example of it

I got this script…that said, “In anticipation of our conversation, please find the script…written by ‘blah blah’ and starring ‘blah blah’.”

I shit you not, it said, “Please take a look at the role of ‘The Chink’.” You can’t make it up. That’s the name of the character. It’s framed in my office, because I want to always be reminded of what’s out there.

By Maggie Q, actress, in response to a question about encountering racial typecasting.
Reblogged from odinsblog  7,557 notes

Race matters. Race matters in part because of the long history of racial minorities’ being denied access to the political process.

Race matters to a young man’s view of society when he spends his teenage years watching others tense up as he passes, no matter what neighborhood he grew up. Race matters to a young woman’s sense of self when she states her hometown, and then is pressed, ‘No, where are you really from?’

The way to stop discrimination on the basis of race is to speak openly and candidly on the subject of race, and to apply the Constitution with eyes open to the unfortunate effects of centuries of racial discrimination.

By Sonia Sotomayor, on why pretending that America is a colorblind, post-racial society does not make it so (via odinsblog)
Reblogged from stopwhitewashing  484 notes
    Anonymous asked
    Just a point about the whole Avril Lavigne thing: I agree that it's shitty and racist but I think the whole 'reduced Japanese people into identical props' is false. She used them as backing dancers and it's usual for backing dancers to be dressed similarly or even made to look identical. Just thought I'd stick this out there as I'm a professional dancer and was a bit annoyed with people's reactions. Just because someone's not central/just a dancer doesn't mean their a prop

    Answer:

    stopwhitewashing:

    Santoine: I disagree and I don’t think you understand what it means to use a POC as a prop in a music video or for your career.

    It’s not about the dancing, first of all. These women were use to make Avril’s appropriation of Japanese culture seem authentic. These women were used as props to make the appreciation for an iconic Japanese character seem genuine when it obviously wasn’t. 

    It kinda mind boggles me that you don’t find that to be an issue. 

    So many white artists have use POC as props to justify their persona. Gwen Stefani did it with the Harajuku girls who I believe also had to sign contracts preventing them from speaking in public or about their experience as her props (again, to justify her fetish for Japanese culture). She even used Latina women as props in her Luxurious video when she attempted to act like a chola. 

    Miley Cyrus and Iggy Azeala use Black women as props to justify their fetish for Black culture and to make it seem as though they’re “down” with us when it’s a front and a smelly sack of disrespectful bullshit to legitimize their image and the commodification of Black culture. 

    So, no, you’re wrong. They were definitely used as props and not simply as dancers who just so happen to look alike.

    (dancers in mvs are used as props anyways but the way they are used in these instances reflect a bigger and more insidious issue that you unfortunately cannot see or acknowledge)

Reblogged from flybaldies  7,192 notes

apocalypsecanceled:

why do white feminists think ‘BUT WE NEED MORE LEADING WOMEN IN THE ACTION GENRE’ is a good excuse to watch lucy do they honestly believe hollywhite just completely missed GRAVITY and the ENTIRE MOTHERFUCKING HUNGER GAMES FRANCHISE what do they think the funding for ‘lucy’ is coming in the wake of?

they boycott pacific rim (which, yknow, had a japanese woman shoving some of hollywhite’s most racist & sexist tropes so far back up its own ass it was still tasting them the week after) for not passing the bechdel test but blatant violence and racism, well that can slide, that’s great representation, that’s empowering for women.

image

"you speak english?"

boy i sure do feel empowered seein people who look like my dad & my friends get murdered for not speaking english IN TAIWAN

What’s weird is this line has shown up in Hollywood movies twice already in the past year (2013).   It was used both in The Wolverine andOlympus has Fallen—both films feature the white hero vs. Asian baddies screaming “SPEAK ENGLISH” to some hapless Asian minion and then enacting violence on them.   So that joke isn’t even original.    

Reblogged from disneydiversity  23,794 notes

One of the most disturbing scenes in Disney’s “Aladdin” is when Jasmine must pretend to seduce Jaffar in order to distract him. The clothing that the animators chose to put her in, complete with the shackles, are all a white, colonial wet dream. And she’s the only Disney princess who’s had to use her body in this way to distract someone. Then there’s this scene in “The Hunchback of Notre Dame” where Esmeralda is shimmying her hips and breasts and basically ends with a pole-dance sequence: a far cry from the delicate waltzes and pirouettes that Belle and Aurora dance. The simultaneous fascination and revulsion that Whiteness has for WOC bodies are unmistakably evident in Disney’s posturing of Jasmine and Esmeralda.

By

The Jasmine Diaries Part II: ‘Exotic’ is not a Compliment

(via marfmellow)

A perfect example of “desert flower” fetishization/exotification. Women of color are always shown as “others”, they’re seen as women who have to use their sexuality to save themselves (or worse, as people who are just inherently sexual by their mere existence).

We’re putting these sexualized images of women of color into cartoons meant for children, essentially brainwashing them to grow into adults who fetishize non-white women. Gross.

(via callingoutbigotry)

Reblogged from roxylalonde  27,561 notes

policymic:

Cleveland baseball fans stand against racism by #DeChiefing their gear

In the past few months, debate surrounding the use of racial caricatures as pro sports mascots has reached a fever pitch. Just ask the Washington Redskins, who’ve endured significant backlash for both their refusal to change their name and their half-assed attempts to placate their critics.

But a few miles west, fans of the MLB’s Cleveland Indians are taking a stand. In a motion of solidarity, a small but growing number have been “de-Chiefing” their paraphernalia by removing the offensive “Chief Wahoo” mascot from caps and jerseys that bear its likeness.

Read moreFollow policymic