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Reblogged from the-midnight-doe  3,018 notes
the-midnight-doe:

rocketverliden:

katwylder:

boogiekun:

katwylder:

rocketverliden:

gabzilla-z:

espanolbot:

The Wolf of Wall Street's Margot Robbie is in talks to lead DreamWorks' live-action adaptation of the 1995 hit anime movie Ghost in the Shell, to be directed by Snow White and the Huntsman's Rupert Sanders.
….NO! NO! Noooooooooooooooooooooooooooooo! Seriously? Not even bothering to ATTEMPT to get an actress of Japanese descent to play the lead?
Oh, I see. It’s because the logic that “anime is racially ambiguous” or something? ‘Cause, after all, there’s no reason why a character called MOKOTO KUSANAGI be Japanese, right?
ARGH!

WHAT

You know, this reminds me of that time they tried to make a live-action Evangelion and they were apparently going to change Asuka’s name and probably origin.
Like, really, can it be that hard to get a Japanese lead actress? Like, Rinko Kikuchi or someone, y’know, more appropriate?

Change “Evangelion” to “any anime or Asian media,” and “Asuka” to “every non-white character.” Because this is what happens literally every fucking time.
Also, yes, it really is that hard to get a lead who is Japanese when you are racist.

I feel that unless the story is solely based arround the fact that the character is japanese, race doesn’t matter. Like we were able to get a black spiderman! HOWEVER- If they turned away actresses aiming for the part SOLELY because they were japanese- then i can see that as being racist. As for the japanese names- I think they should stay true and actors/actresses should practice saying them perfectly.

Yeah, the thing is, “race shouldn’t matter” is a nice sentiment in theory but always seems to work out in practice as, “only cast white people.”
1) And while movie studios are perfectly happy to cast white actors for characters who are non-white, the reverse practically NEVER happens. This has been shown to be the case time and time again. Most of the time, studios don’t reject people of color for these parts, because those actors are never even considered. Plus, the majority of roles in Hollywood already go to white actors. Would it really be so awful to let Motoko be… I dunno, anything but white?
2) If you wanna know how “critical” her ethnicity is, you’d probably have to ask Masamune. But considering he named her Kusanagi, I would say that it’s probably sort of important. And why should being Japanese have to be “critical” to Mokoto’s character to warrant her being played by an actress who is Japanese (or even any east Asian descent)? Why should that have to be justified?
3) As for there being a black Spider-man… That is not an equivalent situation and it’s disingenuous to act as though it is. They didn’t change Peter Parker’s race. They created a whole new character who is black, (Miles Morales), and takes up the mantle of Spider-man after Parker.
So, let’s call this what it is: more racism in casting.

As someone who’s watched the ‘95 film and Stand Alone Complex, it is kinda ambiguous on whether or not it takes place in Japan. I guess you can say it pretty much does, though.

They literally mention several dozen times that they are Japanese I have no idea how you’re missing that.
Every single iteration of Ghost in the Shell has at the very least taken place in Asia and that was an incredibly important part of the setting (Hong Kong was chosen for the movie due to its architecture and cityscapes, Japan was chosen for the anime to put a specific origin point of Section 9 and also to give a full background story to the refugee plot in 2nd Gig, etc.)
Why is it that in order for a person of color to be casted for a character that is a person of color, we need a reason? “Oh, her race has to be important to the story!” “Oh, she looks ambiguous, why does it matter?” And yet we never hear these reasons thrown at white actors. It reinforces the idea that characters are white until proven minority which is, yes indeed, racist, whether they “meant it” or not.
The Major is Japanese. That’s it, end of story. There is no excuse for this. And you can bet your ass that this won’t be the only case of white washing in this movie.

the-midnight-doe:

rocketverliden:

katwylder:

boogiekun:

katwylder:

rocketverliden:

gabzilla-z:

espanolbot:

The Wolf of Wall Street's Margot Robbie is in talks to lead DreamWorks' live-action adaptation of the 1995 hit anime movie Ghost in the Shell, to be directed by Snow White and the Huntsman's Rupert Sanders.

….NO! NO! Noooooooooooooooooooooooooooooo! Seriously? Not even bothering to ATTEMPT to get an actress of Japanese descent to play the lead?

Oh, I see. It’s because the logic that “anime is racially ambiguous” or something? ‘Cause, after all, there’s no reason why a character called MOKOTO KUSANAGI be Japanese, right?

ARGH!

WHAT

You know, this reminds me of that time they tried to make a live-action Evangelion and they were apparently going to change Asuka’s name and probably origin.

Like, really, can it be that hard to get a Japanese lead actress? Like, Rinko Kikuchi or someone, y’know, more appropriate?

Change “Evangelion” to “any anime or Asian media,” and “Asuka” to “every non-white character.” Because this is what happens literally every fucking time.

Also, yes, it really is that hard to get a lead who is Japanese when you are racist.

I feel that unless the story is solely based arround the fact that the character is japanese, race doesn’t matter. Like we were able to get a black spiderman! HOWEVER- If they turned away actresses aiming for the part SOLELY because they were japanese- then i can see that as being racist. As for the japanese names- I think they should stay true and actors/actresses should practice saying them perfectly.

Yeah, the thing is, “race shouldn’t matter” is a nice sentiment in theory but always seems to work out in practice as, “only cast white people.”

1) And while movie studios are perfectly happy to cast white actors for characters who are non-white, the reverse practically NEVER happens. This has been shown to be the case time and time again. Most of the time, studios don’t reject people of color for these parts, because those actors are never even considered. Plus, the majority of roles in Hollywood already go to white actors. Would it really be so awful to let Motoko be… I dunno, anything but white?

2) If you wanna know how “critical” her ethnicity is, you’d probably have to ask Masamune. But considering he named her Kusanagi, I would say that it’s probably sort of important. And why should being Japanese have to be “critical” to Mokoto’s character to warrant her being played by an actress who is Japanese (or even any east Asian descent)? Why should that have to be justified?

3) As for there being a black Spider-man… That is not an equivalent situation and it’s disingenuous to act as though it is. They didn’t change Peter Parker’s race. They created a whole new character who is black, (Miles Morales), and takes up the mantle of Spider-man after Parker.

So, let’s call this what it is: more racism in casting.

As someone who’s watched the ‘95 film and Stand Alone Complex, it is kinda ambiguous on whether or not it takes place in Japan. I guess you can say it pretty much does, though.

They literally mention several dozen times that they are Japanese I have no idea how you’re missing that.

Every single iteration of Ghost in the Shell has at the very least taken place in Asia and that was an incredibly important part of the setting (Hong Kong was chosen for the movie due to its architecture and cityscapes, Japan was chosen for the anime to put a specific origin point of Section 9 and also to give a full background story to the refugee plot in 2nd Gig, etc.)

Why is it that in order for a person of color to be casted for a character that is a person of color, we need a reason? “Oh, her race has to be important to the story!” “Oh, she looks ambiguous, why does it matter?” And yet we never hear these reasons thrown at white actors. It reinforces the idea that characters are white until proven minority which is, yes indeed, racist, whether they “meant it” or not.

The Major is Japanese. That’s it, end of story. There is no excuse for this. And you can bet your ass that this won’t be the only case of white washing in this movie.

Reblogged from thisisnotlatinx  1,854 notes

thisisnotlatino:

Woody Allen Says He Won’t Hire A Black Actor Unless The Role Calls For One

So, you know Woody Allen, of course. The filmmaker who’s seemingly been a critics’ darling, since the early 70’s; Your typical liberal New Yorker, who also loves to play jazz. But there’s that one thing though. You know what I’m talking about. That one thing that’s been whispered about, or even loudly discussed, ever since Allen’s started writing and directing his own films. And that thing is, the fact that you never see black people in his movies.

And considering that most of his films have been set in New York, one of the most racially diverse cities on the entire planet, how is it that black people are virtually non-existent in his films?

Well that’s not entirely true. There have been a few exceptions. There was Sonia Rolland playing Josephine Baker in “Midnight in Paris,” although she was basically relegated to the background, as an extra with no lines. And there was Hazelle Goodman in his 1997 film “Deconstructing Harry,” playing… take a guess, a prostitute but of course.

And that’s about as much as I can come up with.

So what’s the problem? Why hasn’t Allen had black actors in his films?

Well, he was just recently asked that question in a profile about him, in the New York Observer (HERE). When asked why black actors haven’t appeared in his films, the writer of the piece states that Allen was “horrified” when the subject was brought up.

But Allen has his reasons. It’s very simple. According to the filmmaker: “Not unless I write a story that requires it. You don’t hire people based on race. You hire people based on who is correct for the part. The implication is that I’m deliberately not hiring black actors, which is stupid. I cast only what’s right for the part. Race, friendship means nothing to me except who is right for the part.”

O.K. you want to run that by me again. Talk about contradictory. He doesn’t hire a black actor unless the story requires it but at the same time he doesn’t hire based on race. HUH? I’ve read it a few times already and still doesn’t make sense.

But not to fear because Allen is friends with both Chris Rock, who he once took out to dinner in Rome and Spike Lee “I’m friendly with Spike Lee. We don’t socialize, but I don’t socialize with anyone.” There’s a punchline: “I don’t have white friends either.”

Oh that Woody. Always good for a laugh.

So what do you say about this or you really don’t care? Or is Allen really being upfront and honest about how many filmmakers think. That is unless the part actually calls for a black or POC actor it’s not even on their wavelength. That should not be really surprise anyone should it?

The message is basically if you’re a black actor don’t bother showing up at any casting calls for Allen’s movie. But hey, Tyler is still hiring.


Slime ball.
-m

Reblogged from aravenhairedmaiden  594 notes

When I wrote about the whitewashing in tsunami disaster film The Impossible last year, I was given a dressing down by outraged commenters who deplored my “inability to look past race”.

But the idea that race is something we can transcend in a world still reeling from colonialism and its racist legacies is a notion only privileged white people can afford to entertain. As Waleed Aly wrote in The Sydney Morning Herald last Friday, there is no such thing as racial neutrality:

"Only white people have the chance to be neutral because in our society only white is deemed normal; only whiteness is invisible. Every other race is marked by its difference, by its conspicuousness – by its non-whiteness."

Every time people of colour are whitewashed - and it happens with alarming frequency - those of us who dare complain are told not to overreact, that it is just entertainment, that we shouldn’t play the race card. After all, why should race matter in a good film?

It matters because actors of colour are routinely sidelined. They may get literally a handful of leading roles per year in films where race is an essential aspect of the narrative such as 12 Years A Slave, but are usually relegated to minor roles such as the black ‘sassy’ friend, or the Asian nerdy sidekick, as this parody video shows.

By Source (via aravenhairedmaiden)
Reblogged from xlivvielockex  679 notes

Felicia Day, on her original audition for Buffy:

prophecygrrrl:

she-hulk-smash:

bituon:

belinsky:

I actually auditioned the year before for Angel, I think for the part that Amy Acker got. I don’t think I got very far. But it was nice that they brought me in again for Buffy — my character was supposed to be an Asian girl. 

ah

sighhhh

Fucking…. Ugh. And this isn’t the only time Joss has pulled these shenanigans. Kaylee Frye from Firefly was originally written as an Asian woman.

as were both of the Tams, Detective Tanaka from Dollhouse (played by Mark Sheppard), and Dr. Lin from Cabin in the Woods (played by Amy Acker). and these are just the ones that we know of, with obvious Asian last names.

Sadder still that the only other Asian Potential in Buffy couldn’t speak English and her foreignness and inability to communicate was played off as sooo hilarious oop~

Reblogged from apaullo95  234 notes

Racebending is part of the continued effort to change the perception black characters and black audiences have in the entertainment industry. Blackness is viewed as a niche market confined to one buddy comedy a year, one Oscar-bait film about our suffering, and whatever action movie The Rock gets paid $50 million dollars to do — and if Dwayne’s skin was a few shades darker, we wouldn’t even have that. Racebending helps to break that highly racialized film standard.

By Dion Beary (via apaullo95)
Reblogged from thisislostinlace  54,906 notes
thisislostinlace:

nablayah:

idilardayacad:

maleehaisconfused:

spikefuckingjonze:

anyone else noticing a trend here?

lol
didn’t know ancient egyptians looked like mayo…

RHAMSES IM CHOKING LIKE THEY DIDNT SEE THE STATUES OR NOTHING

Ok but of course the servants and thieves are black ok i see yall

Brown Jesus from Palestine, what the fuck is this!
Tuya and Zipporah are Sub Saharan unarguable black. Like you Zipporah’s familial descendants are still living a pastoral life in the same place she was from, and they still look like her.
Queen Tuya is black, in fact her tomb was found after the front load of white supremacist archeologist raided Egypt, so surprisingly enough her features were kept in tact on all of her antiquities as was her full name which also described where she was from…modern day Ethopian/Chad/Sudan area.
No matter how much fake tanner, pretty pretty hair pieces, faux box braids Sigourney will look ridiculous.
So it’s real nice to know that every reoccurring woman of visible East African descent is non existent and every male of visible African decent is a poor criminal. Awesome, and super accurate.

thisislostinlace:

nablayah:

idilardayacad:

maleehaisconfused:

spikefuckingjonze:

anyone else noticing a trend here?

lol

didn’t know ancient egyptians looked like mayo…

RHAMSES IM CHOKING LIKE THEY DIDNT SEE THE STATUES OR NOTHING

Ok but of course the servants and thieves are black ok i see yall

Brown Jesus from Palestine, what the fuck is this!

Tuya and Zipporah are Sub Saharan unarguable black. Like you Zipporah’s familial descendants are still living a pastoral life in the same place she was from, and they still look like her.

Queen Tuya is black, in fact her tomb was found after the front load of white supremacist archeologist raided Egypt, so surprisingly enough her features were kept in tact on all of her antiquities as was her full name which also described where she was from…modern day Ethopian/Chad/Sudan area.

No matter how much fake tanner, pretty pretty hair pieces, faux box braids Sigourney will look ridiculous.

So it’s real nice to know that every reoccurring woman of visible East African descent is non existent and every male of visible African decent is a poor criminal. Awesome, and super accurate.

Reblogged from bard-of-raging-boner  699 notes

bard-of-raging-boner:

I was really fucking annoyed when they cast whiney white boy Christian Bale to play Moses in Exodus (2014) and even whiter Australian white boy Joel Edgerton to play Rhamses.

But it’s okay, they have hired an actor who is a POC and of African descent, which is good because Exodus takes place in Africa. It’s all good guys.

Isn’t everything really okay and not racist now? Right?

Reblogged from jhenne-bean  57,423 notes

shoorm:

edit: Ricardo Montalban, the actor who originally portrayed Khan, is Mexican, yes. The character, however, is Asian (specifically Sikh). I apologize for not making the actor/character difference clear, and I do agree it was my bad for putting Khan in this post, since POC are not interchangeable. I wanted to show how a TV show in the 60’s cast a POC for a POC, while a Hollywood blockbuster made in 2013 cast a white actor for a POC. Apologies for not explaining the Khan issue further.

Reblogged from dofer49  5,507 notes

dofer49:

nerdfaceangst:

iloveyouprincemuttonchops:

autisticbigby:

jesus are there still people who are excited about big hero 6  ? lets talk about how disney saw fit to make honey lemon white because she had blond hair in the comics, a character who was named “Aiko Miyazaki” for fucks sake 
oh and fredzilla, a character of ainu origin, looked like this image and got redesigned to this
image
because an entire cast of poc would just alienate the audience, right ? fucking unbelievable 

Stop saying an entire cast of POC- it SHOULD be entirely Japanese (ONLY JAPANESE). Which would also make Wasabi Japanese (and once again excluding the black community). They’re clearly trying to make it more “American” (as they moved the entire setting from Japan to the USA) . Historically speaking, putting more white people in anything is never a good idea, but marketing- when 63% of the USA is white- it’s a decently smart move.  I’m not condoning changing the ethnicity of all of the characters, but it does make sense.  Besides, if Dream Works did it I bet not a single one of you would say anything.

#IS THIS THE NEW THING BECAUSE THEY COULDN’T COMPLAIN ABOUT HONEY LEMON ANYMORE#YOU’RE FUCKIGN UNBELIABLE HOW ABOUT YOU MARKET THE GODDAMNED MOVIE #LITERALLY DISNEY HAS NEVER MADE A MOVIE OF AN ENTIRELY NON WHITE CAST THAT MADE IF BIG #ALSO I’M SICK AND TIRED OF PEOPEL WHO DON’T EVEN READ COMICS OR EVENE THIS COMIC TALKIGN SHIT #ON TOP OF PEOPLE WHO KNOW NOTHIGN ABOUT SELLING FILMS OR FILM IN GENERAL #HINT: IT’S FUCKING HARD#SO MAD I CAN’T TYPE STRAIGHT #ALSO ARE YOU GOING TO FREA OUT BECAUSE HER BOOBS ARE HUGE AND HANGING OUT #BECAUSE LETS IGNORE HOW THE ORIGINAL COMIC AND COMICS IN GENERAL OVERLY OBJECTIFY WOMEN

Well actually I’m pretty sure people are still complaining about Honey Lemon. Also, Disney has made films with all-poc casts that have been wildly successful. The Jungle Book, Aladdin, Mulan, The Emperor’s New Groove, Brother Bear, and Lilo & Stitch. It’s not a large amount, in the big scheme of things, and it’s certainly not a justifier for how largely white Disney films are, but they do exist. So, Disney “literally” has made a movie of an entirely non-white cast.

I’m pretty sure there’s a lot of criticism for everything you mentioned, it’s just not all in this post (especially the objectification of women). I know there’s another one going around about this character in particular that states he is Ainu and debunks the concept of him being white in the first place. Yes, in fact, the entire cast should be 100% Japanese. Racebending is an unacceptable concept when you begin to hijack other minority representation. I know lots of people who aren’t going based on that principal alone (like myself). Aside from that, saying that most of America is white so that justifies whitewashing (even that it “makes sense”) or denying diversity is terrible, and is a fairly racist statement in and of itself.

DreamWorks has nothing to do with this, DreamWorks is not immune to criticism either - but that’s not the point right now.

Disney is powerful, established, and needs to stop doing what it’s doing. It has huge potential and is largely beloved - even by people who loathe it for the sake of core values. Disney needs to start doing right by not just the source materials, but by the people they claim to want to represent in entertainment. It’s also important to make people aware of what they may be endorsing when they see a film, and cause them to think critically. Entertainment is never just “entertainment”, its influence seems negligible but in reality is quite subversive and at times completely overt.

Genuine representation doesn’t start at whitewashing or racebending. It starts when you begin acknowledging the stories of minorities that already exist. It starts when you stop rewarding companies for providing sub-par representation and acknowledgement.

While it’s correct of you to bring up the largely offensive racebending of the rest of the cast, it’s incorrect of you to attempt to justify it because “it makes sense” to appeal to the white majority. Or even to justify it by saying they’re “making it more American”. What is and isn’t “American” is highly debatable, and I’m sure many people will agree that there are most certainly Japanese-Americans.

Furthermore, what’s extremely problematic in my opinion is the fact that Fredzilla is no longer Ainu.

Ainu being another group of ingenious peoples (in Japan) who have had their histories and ways of life devastated by a newer visitor to their land. As an Aboriginal Canadian that upsets me.