The Effects of Stigmatization and Stereotypes in the American Film Industry: PORTRAYAL + CASTING
PARAMOUNTPortrayal
In Hollywood-produced films, the effects of stigmatisation of both women and racial groups can be seen in the enforcement of sexist and racist stereotypes through the portrayal of exaggerated characters. This is evident first and foremost in the characteristics of women in horror films. As seen in an academic paper by Kayla Marie Krahn, the notion that ‘Horror films portray female characters as sexual, helpless victims’ is confirmed. This statement, with the support of character traits and arcs in films such as Halloween, Psycho, Nightmare on Elm Street and The Shining show that in this genre, many female characters embody some of the most prominent stereotypes of what a woman should be: always victimised and sexualised. Even in the cliché of the ‘Final Girl’, in which the female subverts the expectations of victimisation by being the sole survivor, stereotypes persist as she is portrayed as a ‘pure virgin’ or is de-sexified to some capacity. In fact, in a study by Gloria Cowen and Margaret O’Brien, it was found that ‘female non-survivors were frequently engaged in sexual behaviour immediately preceding the slashing’. This comparison draws connotations between the weak sexualisation of women and death, as well as ‘purification’ and life, therefore propagating and enforcing sexist stereotypes that ‘affect the [audience’s] perception of women as competent heroes’. However, this stigmatisation is not just seen in the portrayal of women in horror films; It applies to many more underrepresented racial groups and genres as well.
Despite moving away from blatant racism, the portrayal of ethnic minorities in most films still support untrue stereotypes. For instance, in the data study What Hollywood Movies Do to Perpetuate Racial Stereotypes, a chart shows the frequency of certain African American stereotypes over time and provides an interesting insight into the cultural trends that allowed them to happen. While it reveals that many stereotypes have diminished over the years, one that has remained is the fact that African-Americans are the first to die in the majority of Hollywood films. This has been evident in many recent films such as X-Men: First Class, 300 and Aliens. Unfortunately, the imposition of this stereotype, combined with the fact that the majority of these deaths end up having little-to-no impact on the overall plot, shows that these characters are not as important as others. This encourages the idea that African-Americans are of less importance in resolutions and, due to the influence of film in the general culture, could impact how African-Americans are seen overall. Being forced into a stereotype is a challenging experience as is the struggle that minority groups face during the selection process for the roles in the first place.
Casting and Production
This stigmatisation and enforcement of stereotypes can also be seen in the treatment of women and underrepresented racial groups during the casting process of many major films. In the case of women, casting executives, as well as their managers, constantly berate them for being too old or too big for roles.. For example, many prominent actresses in their thirties, including Anne Hathaway and Olivia Wilde, are being ‘denied parts written for women with 50-year old male love interests’ that are given to actresses in their twenties because they are ‘too old’ to play the part. On top of that, by the time she had turned forty, Meryl Streep was ‘not offered any female adventurers or love interests’ and was instead offered three ugly old ‘witch’ roles that casting executives thought were best suited for her. The fact that casting executives recognise women in their thirties and forties as ‘too old’ to portray regular female roles shows the presence of stigmatisation towards women as the ageism that is shown towards them is much harsher compared to men of the same age. Unfortunately, this phenomenon solidifies numerous stereotypes and values that promote the ‘ideal’ woman as young which can consequently harm opportunities in all aspects of a woman’s life in the real world.
However, this discrimination from casting executives is not just directed towards women, but towards numerous underrepresented ethnicities as well, especially Asian-American actors and actresses. As seen in Keith Chow’s paper Why Won’t Hollywood Cast Asian Actors? He explains that many ‘roles that originated as Asian characters end up going to white actors’, and of the few that don't, the ‘majority of roles that are offered to Asian-Americans are limited to stereotypes’. While mainly present in older films like Breakfast at Tiffany’s (with the portrayal of I.Y. Yunioshi), this can be seen happening in modern-day blockbusters such as the casting of Tilda Swinton in Doctor Strange, Scarlett Johannsson in Ghost in the Shell, and Elizabeth Banks in Power Rangers, who are all white actresses in roles meant for Asian-American actors. This repeated exclusion of Asian-American actors, even from parts that represent their culture, implies that Asian-Americans cannot be successful in Hollywood.
Over time, this has enforced the cultural stereotype that Asians can only be successful in more logic-driven fields such as maths and science. The inferred motives of these choices that rely on the imposition of stereotypes have been proven to be true, as many notable creatives like Max Landis and Scott Foundas have defended their choices by using excuses such as ‘there are no A-list Asian celebrities right now on an international level’ or that they ‘can’t mount a film of this budget’ with an Asian-American star. This shows the film industry’s belief in the stereotype that Asians (and other minorities) are not as bankable as white actors. Through the fulfilment of this stereotype, the film industry is restricting talented actors from furthering their careers as well as not allowing them a chance to prove their worth and break the cycle. On top of that, the effects of this stereotype can result in minorities not seeing themselves represented on screen which leads to demotivation towards diversity seen in the film industry. Yet this type of discrimination is not only seen in the casting and production aspects of the industry. In fact, it may even be more prominent outside of those facets, reaching into the reactions and thoughts of those who consume and judge the final products.