Blacks, whites...and asians!

Blacks, whites...and asians! The concept mentioned in class regarding actors who—in such a cliche manner—discuss how deep into the roles they delve actually has a psychological/scientific basis (as I’ve learned here at SC in my psyc class). At Stanford University a famous prison study was conducted by Zimbardo ( ) in which regular students were given roles of prison guards and prisoners. The findings astounded even the researchers: that the students did not just play parts; but rather they LIVED the parts. Guards treated prisoners with unexpected cruelty and the study was forced to end prematurely so as to protect the mental health of the participants (this study would be considered unethical now). With regards to the idea that “out of the counterfeiting of the black American’s identity there arises a profound doubt in the white man’s mind as to the authenticity of his own image of himself” (Ellison), in light of the Stanford prison experiment, it would be perfectly reasonable to assume that the bridge between whites and blacks is in fact being bridged through this sort of imitation. The assuming of black roles by whites does, in my opinion, blur the color boundary and psychologically speaking, the act would certainly affect how the white person perceives him/herself. Does the desire to “act white” derive from a desire to, in fact, be black? This question sort of confuses me. On one hand, the notion of social and aesthetic othering producing a black culture (taking forms in dancing, talking, sexuality, etc.) that whites so desperately want to copy/imitate makes sense to me. On the other hand, I don’t listen to a Jay Z song because I knowingly/consciously want to be black. But I guess it’s the bigger picture, isn’t it? That over the course of time, black customs and culture have drawn whites in in some particular way. The dressing up of whites to be black is very much theatrical, yet so is the entire niche of spoofs on Crouching Tiger Hidden Dragon. The martial arts stereotype as influenced by asian culture has very much become a similar sort of phenomenon. Kung Pow! Enter the Fist ( ) is the perfect such example of imitation of a subjugated race by white America. Asians, having been persecuted throughout American history (Chinese labor exploitation in the building of the continental railroad—something shown but not focused on in the Mel Brooks’ Blazing Saddles scene we viewed in class; as well as Japanese internment camps), have been socially othered to a great extent by whites. The form of aesthetic othering that has manifested itself in American pop culture is, though not as prominent as that of the African-American slave influence, certainly prevalent. Just as people have pointed out the lack of black lead actors in Hollywood (out of a dearth of parts for them to play that don’t involve them fulfilling racial stereotypes of the baffoon and so forth), asians experience what I perceive to be an even greater lack of opportunity. Iron Chef America (based off of its asian predecessor: ) as well as the popular show Wipeout (a direct copy of MXC— vs ) are perfect examples of asian influence in popular culture today, especially the cinematic realm of pop culture. That we don’t necessarily hear asian influences as much in pop music as we do black influences doesn’t diminish this fact. I don’t know if I can fully address this idea in one blog, but it’s a start!