ABOUT THE HOLLYWOOD RACE REPORT

The Hollywood Race Report is a new site for avid moviegoers and self-proclaimed activists to join the discussion about racism, gender, and sex in your favourite films. Our writers, Madison McNerney (Women and Gender contributor), Sam Forsyth (Space and Race contributor), and Zara Jiwa (Masculinities contributor) work hard to bring you in-depth and inclusive reviews and welcome input from our readers. We believe it is important to watch mainstream films with a critical eye as to be aware of the stereotypes they may reinforce and how we can combat them.

VOLUME 1: RACE, RACISM, GENDER, AND SPACE IN "THE BLIND SIDE"

A QUICK SUMMARY TO REFRESH YOUR MEMORY:

The 2009 film, ‘The Blind Side’ depicts the life of Michael Oher, a homeless black boy who is adopted by a white Republican family. The film describes how Oher is ‘saved’ from his childhood in the inner city ‘ghetto’ of Memphis by Sean and Leigh Anne Tuohy who provide Michael with a loving home, a private tutor to help him with his studies, and nurture his athletic talent. With the support and ‘sacrifice’ of the Tuohy family, Michael becomes one of the top high school football players and is drafted by the Baltimore Ravens, in the first round of the 2009 NFL Draft.

WHAT WE WILL DISCUSS:

This installment of The Hollywood Race report will critically analyze three issues we found present in the academy award nominated film ‘ The Blind Side.’  The issues that will be addressed include the depiction of black motherhood, race and its mobility through spaces and black masculinity.  The first section will take an in-depth look at how black motherhood is portrayed in the film in contrast to white motherhood.  The author will discuss how the movie depicts Denise Oher as the ‘crack mom’ stereotype opposite to Leigh Anne Tuohy’s character who is portrayed as the perfect mother.  This section will also discuss how certain scenes in the movie are fictitious and have been added to the film to create a “better” storyline while at the same time pushing Denise farther into the ‘crack mom’ characterization. The second section will discuss the racialized nature of space as well as the mobility and privilege that whiteness provides in the occupation and expansion of space. The third section will cover issues of black masculinity and black men in sport in ‘The Blind Side’, particularly how black men are “othered” in the film as delinquent and hypersexual. In addition, the section will cover the topic of black men in sports and how Michael Oher’s character was “tamed” for practical use on the football field.

BLACK MOTHERHOOD IN "THE BLIND SIDE"

By: Madison McNerney

The construction of black motherhood in comparison to white motherhood is an apparent theme present in the film “The Blind Side.”  The film is inspired by the true story of Michael Oher, a poor black teenager that was adopted by the Tuohy’s (a wealthy white family). 

“The Blind Side” situates Denise Oher, a poor, black, single, crack-addicted mother in opposition to Leigh Anne Tuohy an upper class, white, married and educated mother.  And while the movie is based on true events and real people it is still important to look at how the movie depicts each of the mothers in relation to each other.  Films have the tendency to embellish certain character traits and events in order to create a “better” storyline and in doing so often place black mothers into various controlling images.  ‘The Blind Side’ places Denise Oher into the ‘crack mother’ controlling image and exaggerates various events that took place in her and Michael’s life in order to create a more dramatic film.  In doing so, the movie portrays Denise Oher as the “bad” mother who is not able to support and care for her children, whereas Leigh Anne Tuohy is depicted as the perfect, pious mother who is able to not only support her own two biological children, but is also willing and able to adopt another son.   

            An example of a over embellishment added to the movie to make it an even better coming of age story, and to depict once again, Leigh Anne as being the better mother is the ‘bedroom scene.’  In this scene Leigh Anne shows Michael his own bedroom that has been put together for him in the Tuohy house.  Michael tells Leigh Anne that he has never had one before, she says, “what a room to yourself?” to which Michael responds, “a bed.”  Leigh Anne’s character becomes very emotional in this scene because she is instantly struck by the fact that she can provide Michael with something as commonplace as a bed and it is a big deal to him.  Audiences are immediately struck by this scene and see Leigh Anne as being a savior in Michael’s life because she was able to successfully help Michael from move away from “Hurt Village” and the poverty that surrounded him there.

            In an interview (link posted underneath this blog post) with the real Denise Oher, conducted in 2013, Denise shares her side of ‘the blind side.’  She states, that the often talked about ‘bedroom scene’ in the film was not true.  She states, “If I had to put a bed in my kitchen, my children would have somewhere to sleep.  See I’ve been portrayed as the worst mother in the world and that wasn’t it.” (The Untold Blindside)  From this interview it can be seen that not all aspects of this movie play out exactly as they did in the real lives of the individuals.  Denise feels that she was depicted as the worst mother in the world, and audience members can see where she is coming from when looking at the comparison of her character as a mother to Leigh Anne’s character. 

            The film portrays Leigh Anne as going beyond what is expected of your average mother and instead is portrayed as a “heavenly figure” who is takes care of not only her biological children but also adopts another son and in doing so saves him from his previous horrible life. She is depicted as the perfect mother who is always supporting her children in every way possible.  She drives them to and from school, cheers them on at their various athletic activities and provides a large home for them to live in comfortably.  Denise Oher, on the other hand is portrayed as a poor “crack mom’ who is incapable of supporting her children. While in the interview, Denise admits to having a drug addiction during Michael’s childhood that does not mean that she should be characterized in the crack mom stereotype that carries with it a number of connotations.  Gurbium defines the ‘crack mother’ characterization as, “the mother-as-monster image evident in media portrayals of women who use crack cocaine; African American users living in the inner-city neighborhoods especially depicted as grossly irresponsible mothers” (510). 

She also adds, “the mother on crack is seen as wholly unfit to properly care for her children and is not aware of their needs” (Gurbium, 511).  While it is obvious that Leigh Anne was able to provide for Michael in a number of ways that Denise could not, we should not assume that Denise did not provide the necessities for Michael or that she was unaware of her children’s needs. 

            I think one of the most important points to take away from this critique of ‘The Blind Side’ is that the movie too simply portrays the white mother as being a savior and the black mother as being wholly incapable of being a parent without spending any time delving into the historical forces that have allowed for such portrayals of such racialized mothers to come about.  There are a number of factors in play that have led to controlling images such as the ‘crack mom’ coming about that were not discussed in the film and therefore too easily make it seem as though there is a good and a bad mother. 

Leigh Anne meets Michael's mother 

Join the discussion about the portrayal of Black women in the media by leaving a comment below! We love talking to our readers!

Gubrium, Aline. 2008. Writing Against the Image of the Monstrous Crack Mother. Journal of Contemporary Ethnography. 37(5). 511-527.

Oher, Denise. “The Untold Blindside.” Only On 5. AMERICA NOW. Feb. 3. 2013. Television.

http://www.americanownews.com/story/20953196/only-on-5-denise-oher-shares-her-side-of-the-blind-side

Madison McNerney is the Women and Gender Contributor to the Hollywood Race Report 

THE MOBILITY OF RACE IN "THE BLIND SIDE"

By: Samantha Forsyth

The way in which social space is oriented towards and against particular bodies is rarely addressed because space is often viewed as a neutral arena in which people of different race, gender, and class are located.

Tuohy Family Home

However, a closer analysis of the intersection of race, class, and space reveals that space is a powerful, rather than innocuous force, which functions to define, confine, and regulate individuals marked as racially and economically inferior (Sullivan 2006). The film ‘The Blind Side,’ which is based on the true story of a young black male from the ‘inner-city ghetto’ of Tennessee who is adopted by a suburban white family, clearly portrays how space, and by extension the bodies who occupy them, come to be known in racialized terms.

The boundaries between racialized and non-racialized spaces are clearly defined from the beginning of the movie when Michael Oher, a black boy who is adopted by Leigh Anne Tuoy and her family, drives through the inner city housing projects into a white suburban neighborhood. This scene epitomizes the coloring and separation of space through its portrayal of the inner city ‘ghetto’ of ‘Hurt Village’ as a run-down space only occupied by black people and the white suburban neighborhood as pristine space filled with wealthy white individuals.

The racialized nature of these spaces is exacerbated by the fact that there are very few scenes in the movie where white and black individuals are shown occupying the same space at the same time. The only scenes in the film where a white individual is presented in the space of “Hurt Village” is when Leigh Anne goes with Michael to pick up his belongings from his house and when she returns alone to the ‘ghetto’ to talk to Michael’s mother about adopting Michael. White individuals rarely venture over to ‘the other side of town’ because “Hurt Village” is marked as a ‘primitive,’ ‘barbaric,’ and ‘dangerous’ space. The danger embedded within the space of ‘Hurt Village’ is evidenced by the comment made by one of Leigh Anne’s friends at a luncheon who states that ‘Hurt Village’ ‘sounds like a threat’ and that it would ruin her reputation to be seen ‘on the other side of town.’ This comment demonstrates how the division of space functions to create a racialized class divide between those who are deemed civilized and ‘safe’ from those who are viewed as ‘wild’ and ‘dangerous’ (Sullivan 2006).

Leigh Anne critiquing the coaching skills of Hugh Freeze

In addition, the way in which black and white individuals inhabit space in the film is racialized. While it may appear that the spatiality of white individuals is equally as constrained as blacks because of their apprehensiveness and fear towards entering ‘Hurt Village,’ the way in which black and white individuals are able to live their spatiality differs immensely (Sullivan 2006). For example, even though Leigh Anne’s gender limits the degree to which she is able to enter or feel safe entering black space, (i.e. Leanne is told by Michael to stay in the car and lock the door upon entering ‘Hurt Village’) her whiteness provides her with a certain privilege sense of belonging and entitlement that is inaccessible to a black man or woman. The mobility and freedom that ‘whiteness’ permits is evidenced in the way in which Leigh Anne considers all spaces as rightfully available for her occupation. Leigh Anne inhabits the ‘masculine’ space of the football field in order to critique the coaching skills of Hugh Freeze, the ‘digital’ space of Michael’s personal documents on his family and education background, as well as the home of Michael’s mother in ‘Hurt Village’ to discuss whether she would be accepting of the adoption. While the occupation of these spaces by Leigh Anne is viewed as a reflection of her ‘bravery’ and ‘maternal instinct’ to protect Michael, it is important that Leigh Anne’s ability to move effortlessly throughout space is not reduced to the fact that she is a ‘determined and caring mother.’ Rather, Leigh Anne’s spatiality is a product of her whiteness and wealth and the expansiveness this allows in the transaction between and within spaces marked as either ‘white’ or ‘black.’ The continued invisibility of racialized space and the immobility these spaces present to black individuals have allowed for the perpetuation of stereotypes of blacks as ‘docile’ or ‘lazy.’ It is important that this immobility comes to be understood as a product of spatiality and the way in which black and white individuals occupy space in unequal and non-reciprocal ways.

Leigh Anne gives Michael a speech as she inhabits the masculine space of the football field

If you would like to join the discussion about Space and Race in The Blind Side leave a comment below! 

Sullivan, Shannon. 2006. Revealing Whiteness: The Unconscious Habits of Racial Privilege. Bloomington, IN: Indiana University Press.

Samantha Forsyth is the Space and Race Contributor for the Hollywood Race Report

STEREOTYPES OF BLACK MALE MASCULINITY AND BLACK ATHLETIC BODIES IN SPORT IN "THE BLIND SIDE"

By: Zara Jiwa

When we watch popular news outlets, such as CNN or Fox News, it is highly probable that the face of a criminal that is attached to a broadcast about a recent shooting or robbery will be black. Black masculinity is also often linked with ideals of the “well-endowed” man who possesses an immense sexual desire that is inherent and cannot be curbed. Both these stereotypes work to continue the subordination of the black man by trapping him in an image of brutality, violence, and barbarism. In his chapter “The Spectacle of the Other”, Stuart Hall discusses the process of stereotyping as it involves the use of splitting and closure. A stereotype must “split” the good from the bad, establishing boundaries to close off what has not been labeled as “normal”. Keeping this in mind, we will now look into the ways in which The Blind Side perpetuates stereotypes of black men as inherently criminal and hypersexual beings. Following this, I will attempt to connect these two themes to the depiction of black men and sports. We will look at the ways in which the movie demonstrates a need to “train” the primitive black male body for a more “productive” cause, football. Hopefully by the end of this section we will have gained a more critical lens to use with regards to analyzing how black men are constructed in Hollywood films.

There were numerous incidents in the film where I found the characters aligned themselves with the stereotype that all black men are criminal and dangerous. By asserting this stereotype the film ensures that its protagonists, the White, devout Christian Tuohy family, remain inherently “good” while the black characters are associated with a lack of power and a life doomed to impoverishment. For example, in the start of The Blind Side, Leigh Anne invites Michael to stay in her home after finding him walking on the street without a place to go. After setting up the couch for Michael, Leigh Anne has a conversation with her husband, Sean, about how long the boy will stay with them. Following this conversation Leigh Anne asks “You don’t think he will steal anything?”. Her comment in this scene situates Michael within the stereotype of danger.

Newspaper clippings in the ending scenes of The Blind Side

I especially thought the ending of the movie that showed newspaper clippings of young black men involved in shootings was quite interesting and fits well with our theme about the assumption of all black men as inherently dangerous.These images were meant to show the life that Michael avoided by playing football as he cut off ties with his previous friends in the projects. However, these headlines only worked to reinforce controlling images of black men: they are all poor, involved in violence, and lack a proper father figure. By establishing a difference between Michael, the boy involved with a good white family, and other black men, the film traps them in a stereotype of violence and delinquency.

            Black male sexuality is something that has developed through years of colonialism and subordination of the “other”. For centuries, black men have been reduced to being completely driven by their biological desires and the craving of the black man has always been the white woman. For example, in some colonies, racialized rape laws were put into place as a means of “protecting” white women from the dangerous, and well-endowed, local black man and assisted with keeping the gene pool pure and white (Stoler 2002). These ideas of hypersexuality are evident in the various scenes of the movie that took place in the more impoverished areas of Memphis, which were, not surprisingly, occupied by predominantly black people. In these moments Leigh Anne was continually taunted by men on the streets who would call her “sexy” and urge her to come closer. A character in the movie that epitomized this hypersexual being of black masculinity is Alton, Michael’s acquaintance from the projects. Alton makes comments about Leigh Anne’s appearance, focusing on her skin tone and her slim body.

Alton, Michael's acquaintance from the projects

This is reminiscent of the colonial stereotypes previously discussed as Alton’s character is used to play up the idea that black men desire white women, the representation of purity and supposed bearers of the white race. By setting up this idea of hypersexuality, The Blind Side, once again, creates a splitting between the “good” and “bad” or the “white” and “black”. The men in the projects are constructed as devilish and “horny” while the white men in the film possess seemingly stable careers and families. Once again, this racialization of sexuality allows the film to keep its protagonists in a position of superiority and doom its antagonists (Alton and other character’s of Michael’s past) in a position of inferiority.

            In order to properly understand the depiction of black male masculinity in The Blind Side it is necessary for us to look at how it is portrayed in relation to the use of these black bodies in sports. In Black Sexual Politics, Patricia Collins chronicles the history of the black male athletic body stating that: “Historically, African Americans men were depicted primarily as bodies ruled by brute strength and natural instincts, characteristics that allegedly fostered deviant behaviours of promiscuity and violence” (Collins 2005: 152). These ideas are reminiscent of our discussion of hypersexuality and black male criminality. Collins continues by saying “Athletics constitutes a modern version of historical practices that saw Black men’s bodies as needing taming and training for practical use” (Ibid: 153). This point is echoed in the scenes where Michael is taught how to play football for his high school team as it is portrayed as if he is completely unaware of the sport itself. His character does the opposite of what he needs to and is easily distracted, which is evident from his pointing out balloons to his teammates as it floats over the field.

Michael becomes distracted by a red balloon

Not only is Michael viewed as helpless in these scenes but he is also made to be unintelligent, in need of “training” and “taming” from his white coach. After doing some background research, I discovered Michael Oher, the real NFL player, was disconcerted with these portrayals of him as not aware of football. Contrary to The Blind Side, Oher actually did know much about the sport and did not need to be taught how to play the game. The filmmaker’s decision to depict Oher in this way demonstrates, once again, this striving to portray the white protagonists as all knowing and “better” than the black characters. The scenes of the film that showed the process of Michael learning the rules of football demonstrates an effort to rid any bit of barbarism or primitiveness from his past. Michael is assumed to be initially “rough around the edges” and it is the job of the other characters to “fix” him for “practical use”.

            Overall, I really enjoyed watching The Blind Side, however it did seem to reinforce stereotypes of black masculinity, such as criminality and hypersexuality. Although the film, at times, confronted topics of race and racism in predominantely white communities, it failed to take this one step further by moving into a discussion about how Michael, the main black character, deals with issues of racism himself. Hopefully after reading this we can all watch movies with a more critical eye and not allow Hollywood to skew our view of others or dictate our opinions. 

Meeting Alton in the Projects, his "hypersexuality" is apparent thorough his interest in Leigh Anne

If you want to contribute to the conversation about masculinity in The Blind Side, feel free to leave a comment below. We love to hear from our loyal readers!

Hall, Stuart. 1997. Representation: Cultural Representations and Signifying Practices [Chapter 4: The Spectacle of the Other”]. London: Sage Press.

Hill Collins, Patricia. 2004. Black sexual politics African Americans, gender, and the new racism New York: Routledge Press.

Stoler, Ann Laura. 2002. Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule Berkeley: University of California Press.

Zara Jiwa is the Masculinities Contributor for the Hollywood Race Report.