The general public may view the inclusion of BIPOC people in the media as evidence of racial equality, but this is simply not the case. People of colour are often portrayed in a stereotypical fashion, or portrayed negatively on screen. “Early film and television shows featured White actors in blackface whose character portrayals were exaggerated or distorted representations of Black people as uncivilized, illiterate, and/or unintelligent”(Adams-Bass, 2014). Interacting with and consuming media, has become an integral part of the lives of youth, and when bombarded with these harmful racial depictions, people begin to internalize these biases, and treat people of colour accordingly. The disconnection between stereotypical BIPOC representations, and authentic depictions, is because most of the things we watch are made by white creators. Not only do these images affect white viewers perceptions of BIPOC communities, but they also affect BIPOC viewers’ self-perceptions. Youth who view these negative portrayals, often start to view themselves in a negative light, and may lead them to believe they have limited opportunities.
Colour-blindness is also maintained through the media, when racialized characters are simply plunked into white friend groups, without any acknowledgement of their identities, or different lived experiences. The majority of shows that we consume are led by white narratives, and often shows centre all white friend groups in large and racially diverse cities, which would be very unlikely in the real world. The news media also upholds white supremacy by only describing crimes in white neighbourhoods as “shocking”. The highest grossing films in the world were all directed by white men, and these films are the ones that contribute to our views, values, and stereotypes. “Most whites come to rely on these images for their understanding of people of color, reinforcing the idea of a positive “us” versus a negative “them” (Diangelo, 2016).
A term referred to as ‘blaxploitation’ refers to the casting of black people in horror movies, as the role of the monster, the evil entity, or simply the ‘other’. “Hollywood films reflect the racial order in which they are made” (Smith, 2013). One such film that encompasses ‘blaxploitation’ is called “Blacula”. “Ad campaigns for the films assured patrons they would see Blacula set a “death trap for revenge” and partake of an “orgy of vengeance” (Benshoff, 2000). These films are not used as a platform to further racial justice and equity, but rather, racialized bodies are exploited to further capitalist interests which primarily benefit white people.
Not only can we see evidence of systemic racism in the negative depictions of people of colour, but also how they are excluded within the industry. White voices are primarily centred in the media, and Dahmer is another example of this. Not only does the show centre a white voice (Dahmer’s), it was produced by Lou Eyrich, filmed by Jason McCormick, written by Ryan Murphy and Ian Brennan, all of whom are white. Interestingly, the show was directed by Paris Barclay, a two time Emmy Award winner and black director. However, when we consider that an all white team created the show, his invitation to participate “about six months before production started” is an example of tokenism, “the practice of… hiring a person who belongs to a minority group… only to prevent criticism and give the appearance that people are being treated fairly” (Sherrer, 2018). The dichotomy between white and racialized characters in the media, often reflects the trope of oppressor and the oppressed. “Monster” offers many examples of this: Dahmer and his victims, law enforcement and the citizens, the judge and victims’ families, etc.