deerstalker
https://blackgirlnerds.com/why-black-movies-fail-on-the-big-screen-in-asia/
Black culture is often appropriated in Asian countries, such as China and South Korea. On the other hand, actual Black representation in media is not embraced in these regions, as we are witnessing with films like the recently released The Little Mermaid.
For example, Black films just don’t do well in China. China is still one of the most racially homogeneous nations in the world. It’s dominated by one ethnic group, the Han Chinese, which accounts for 92 percent of the population. Together with the fact that the country is highly nationalistic, natives of China haven’t always made it the best at embracing faces that don’t look like theirs.
An academic study found that since 2012, when the Chinese government began allowing more foreign films into the country, Hollywood has cast more light-skinned actors in starring roles. The study concluded that U.S. film studios were casting to fulfill the aesthetic preferences of Chinese moviegoers. The study called this phenomenon a “light-skin shift.” In other words, colorism is a universal issue.
In an essay from her 1983 book In Search of Our Mothers’ Gardens, Alice Walker introduced many readers to the term “colorism” and explained it as “prejudicial or preferential treatment of same-race people based solely on their color.” Closely connected to racism, colorism is more nuanced, and it’s important to acknowledge the differences between them. The reason is that we all exist in a world that has taught us that whiteness is ideal. Colorism evolved out of the racial categories and hierarchies created by white colonizers and slave owners.
To be clear, Hollywood’s ongoing issue with colorism is its own fault. The movie industry is perpetuating the belief that Black people, particularly Black women, can’t be cast in leading roles. The fault also lies with Hollywood producers and casting directors who refuse to push the boundaries and cast dark-skinned Black women in important movie roles, even when the story centers them.
The Little Mermaid performed poorly in China because moviegoers couldn’t get past Halle Bailey portraying Ariel, who has been depicted as white since 1989. Even though Ariel is a fictional character who lives under the sea, they couldn’t get past Bailey’s brown skin.
But there’s still a gap as to why Black films do poorly in Asian markets. In terms of racism, perceptions feed into a larger debate on multiculturalism in Asian markets. In Korea, nationality-based preferences and skin color define access, acceptance, and integration. It’s an issue of classism. Unlike the racist beliefs that are a direct result of slavery, colorism in Asia comes from the idea that lower-wage workers had to work in the fields and had darker skin as a result. Lighter-skinned people were able to stay out of the sun. So, having white skin is not only about being Western. In Asia, there is a deeply rooted cultural perception that associates dark skin with poverty, whereas white skin reflects a more comfortable life and, therefore, a higher socioeconomic status. When Asian markets saw Halle Bailey on screen, all they saw was poverty and a lower social class.
In 2018, Black Panther’s unremarkable performance in China confirmed studios’ concerns about whether Chinese audiences would embrace a film with an all-Black cast. In the Chinese marketing of the film, the Blackness of Black Panther was tempered. Instead of featuring the whole cast, as the U.S. poster did, the official Chinese movie poster showed Chadwick Boseman alone, with his face completely covered by his Black Panther suit.
Yes, China is problematic when it comes to the portrayal of Black people. A prime example of this is the 2016 laundry detergent commercial that had a Black man being shoved into a washing machine then rising out as a “clean” Asian man. Whether you call it racism or a limited understanding of race, it was tone-deaf.
The U.S. gets it terribly wrong too. In 2018, H&M had a Black boy modeling a hoodie with “Coolest Monkey in the Jungle.” The company issued an apology, saying that “unintentional, passive, or casual racism needs to be eradicated wherever it exists.”
It’s easy to dismiss this conversation as just being cultural. Hollywood begins to take closer notes on colorism only after the issue starts to significantly affect its bottom line. We are talking on a global scale now, but education and sharing on the topic are still warranted. I believe that by studying the history of Black internationalism in Asia through the lens of Hollywood, issues of access and acceptance can be reflected in a new context. Colorism has to be dismantled from the inside by letting go of these centuries-old ideologies that have kept our cultures bound to such a degree that we can’t even enjoy a movie without colorism, racism, or classism becoming the main attraction.
Now more than ever, the screen, stage, and even commercials must be spaces where a variety of races and shades are not only acknowledged but also embraced.
Black culture is often appropriated in Asian countries, such as China and South Korea. On the other hand, actual Black representation in media is not embraced in these regions, as we are witnessing with films like the recently released The Little Mermaid.
For example, Black films just don’t do well in China. China is still one of the most racially homogeneous nations in the world. It’s dominated by one ethnic group, the Han Chinese, which accounts for 92 percent of the population. Together with the fact that the country is highly nationalistic, natives of China haven’t always made it the best at embracing faces that don’t look like theirs.
An academic study found that since 2012, when the Chinese government began allowing more foreign films into the country, Hollywood has cast more light-skinned actors in starring roles. The study concluded that U.S. film studios were casting to fulfill the aesthetic preferences of Chinese moviegoers. The study called this phenomenon a “light-skin shift.” In other words, colorism is a universal issue.
In an essay from her 1983 book In Search of Our Mothers’ Gardens, Alice Walker introduced many readers to the term “colorism” and explained it as “prejudicial or preferential treatment of same-race people based solely on their color.” Closely connected to racism, colorism is more nuanced, and it’s important to acknowledge the differences between them. The reason is that we all exist in a world that has taught us that whiteness is ideal. Colorism evolved out of the racial categories and hierarchies created by white colonizers and slave owners.
To be clear, Hollywood’s ongoing issue with colorism is its own fault. The movie industry is perpetuating the belief that Black people, particularly Black women, can’t be cast in leading roles. The fault also lies with Hollywood producers and casting directors who refuse to push the boundaries and cast dark-skinned Black women in important movie roles, even when the story centers them.
The Little Mermaid performed poorly in China because moviegoers couldn’t get past Halle Bailey portraying Ariel, who has been depicted as white since 1989. Even though Ariel is a fictional character who lives under the sea, they couldn’t get past Bailey’s brown skin.
But there’s still a gap as to why Black films do poorly in Asian markets. In terms of racism, perceptions feed into a larger debate on multiculturalism in Asian markets. In Korea, nationality-based preferences and skin color define access, acceptance, and integration. It’s an issue of classism. Unlike the racist beliefs that are a direct result of slavery, colorism in Asia comes from the idea that lower-wage workers had to work in the fields and had darker skin as a result. Lighter-skinned people were able to stay out of the sun. So, having white skin is not only about being Western. In Asia, there is a deeply rooted cultural perception that associates dark skin with poverty, whereas white skin reflects a more comfortable life and, therefore, a higher socioeconomic status. When Asian markets saw Halle Bailey on screen, all they saw was poverty and a lower social class.
In 2018, Black Panther’s unremarkable performance in China confirmed studios’ concerns about whether Chinese audiences would embrace a film with an all-Black cast. In the Chinese marketing of the film, the Blackness of Black Panther was tempered. Instead of featuring the whole cast, as the U.S. poster did, the official Chinese movie poster showed Chadwick Boseman alone, with his face completely covered by his Black Panther suit.
Yes, China is problematic when it comes to the portrayal of Black people. A prime example of this is the 2016 laundry detergent commercial that had a Black man being shoved into a washing machine then rising out as a “clean” Asian man. Whether you call it racism or a limited understanding of race, it was tone-deaf.
The U.S. gets it terribly wrong too. In 2018, H&M had a Black boy modeling a hoodie with “Coolest Monkey in the Jungle.” The company issued an apology, saying that “unintentional, passive, or casual racism needs to be eradicated wherever it exists.”
It’s easy to dismiss this conversation as just being cultural. Hollywood begins to take closer notes on colorism only after the issue starts to significantly affect its bottom line. We are talking on a global scale now, but education and sharing on the topic are still warranted. I believe that by studying the history of Black internationalism in Asia through the lens of Hollywood, issues of access and acceptance can be reflected in a new context. Colorism has to be dismantled from the inside by letting go of these centuries-old ideologies that have kept our cultures bound to such a degree that we can’t even enjoy a movie without colorism, racism, or classism becoming the main attraction.
Now more than ever, the screen, stage, and even commercials must be spaces where a variety of races and shades are not only acknowledged but also embraced.
Michael Jai White is a renowned actor and martial arts expert best known for his exhilarating performances, dynamic characters, and impressive martial arts choreography — something best seen in martial art flicks such as Blood & Bone, Take Back, and Undisputed 2. However, it was his venture into comedy with the release of 2009’s Black Dynamite that allowed MJW to transcend his traditional roles and show his comedic prowess. And now, building on the success of Black Dynamite, White is introducing the audiences to a whole new character: The Outlaw Johnny Black.
Judging by the trailer for The Outlaw Johnny Black, the upcoming film, which is scheduled to release on September 15, 2023, pretty much continues in the same vein as previously released Black Dynamite, despite the narrative differences. In fact, besides mentioning the Black Dynamite movie in The Outlaw Johnny Black trailer, both trailers are actually narrated by Byron Minns, an American actor who occasionally provided narration in the Black Dynamite animated show.
For those who haven’t watched it, Black Dynamite is an energetic satire of 1970s blaxploitation films, in which White, with his recognizable martial arts skills, portrayed the self-titled hero and brought the film to life with a particular flair of humor and comedy that aren’t typically associated with action films. His portrayal of the eponymous character Black Dynamite, an ex-CIA agent on a path of vengeance, introduced a unique blending of both comedy and martial arts presented in an entertaining and exciting way.
The movie was a massive success among audiences at the time of its release. It was well received by critics, with many praising this loving and meticulous send-up of 1970s blaxploitation movies as funny enough for a frat house movie night and clever enough for film buffs. But its success showcased Michael Jai White’s ability to tackle comedic roles, allowing him to demonstrate his versatility as an actor. It was Black Dynamite’s blending of cinematic genres, the mixture of action, comedy, and satire, that helped set the stage for White’s next adventure as The Outlaw Johnny Black.
As said before, The Outlaw Johnny Black continues along the same path forged by Black Dynamite, taking pretty much the same satirical approach. This time it’s satirizing Western films, allowing White to show his acting range in both action and comedy. But instead of a former CIA kung-fu-loving agent, White now embodies a character who’s a fearsome gunslinger, a well-trained foot-to-the-face combatant, and a hilariously engaging figure. And yet, there’s an undeniable sense of continuity when it comes to White’s character in the new film, despite them being entirely different narratives.
Both Black Dynamite and Johnny Black share the same traits as characters. Both are skilled and formidable men on a path of vengeance, with Dynamite avenging the death of his brother, while Johnny seeks to avenge his father’s death. Both share more than just toughness; both Dynamite and Johnny Black have a side to them that brings laughter to the audiences, regardless of the fact that their respective narratives are at least a century apart.
More importantly, Michael Jai White’s transition from the character of Black Dynamite to Johnny Black speaks volumes about his acting abilities. Not because of character portrayal — Black Dynamite and Johnny Black are basically the same character, just placed across different centuries. It’s White’s signature integration of martial arts into a mixture of action, comedy, and satire that really shows the depth of his creative genius and the breadth and depth of his comedy skills.
The massive success of Black Dynamite provided Michael Jai White with a foundation upon which he could build the main character of The Outlaw Johnny Black, so we can say with some degree of certainty that the former has paved the way for the latter. 2009’s Black Dynamite and its subsequent tie-ins proved that action and comedy could merge into an entertaining film experience, setting a precedent upon which MJW could expand in The Outlaw Johnny Black.
In the end, the legacy of Black Dynamite is evident in The Outlaw Johnny Black, and anyone who has seen the former will recognize its “kick-butt and laugh your heart out” humor right away. The vibrant character, the instantly recognizable humor, and the over-the-top action and fight sequences all stem from the success of Black Dynamite. The tonal similarities between the two prove that Michael Jai White can be both an ass-kicker, a gunslinger, and a comedic gut-buster, using the success of one role to catapult him into another.
Still, despite the obvious similarities between the two characters and the two movies, MJW continues to leave a mark on cinema through his unique blend of humor and mastery of different genres. Indeed, Black Dynamite may have walked, but thanks to the strides of its star, Michael Jai White, The Outlaw Johnny Black now rides.