UNLV Ethnic Studies 102 final exam (blank) and Ethnic Studies (ETS 480X) "Seminar in Race Awareness: Minority Groups and Media" assigned readings

ETHNIC STUDIES 102 FINAL EXAMINATION
MATCHING 1. A. Phillip Randolph A.
2.
Booker T. Washington „
3.
Civil Rights Commission
r 4. James Weldon Johnson
5. NAACP D.
6. Robert C. Weaver j-’
7. Black Muslims
____8. SOLO 0-
9. Rosa Parks I.
0. Michael Schwerner
1. Freedom Riders K.
2. Filibuster L
3. Executive Order 9981
M 4. John Lewis
5. Shelley vs Kraemer 0.
NAME
(2 POINTS EACH)
An organization primarily of black ministers who helped spearhead the civil rights movement.
Declared that racially restricted covenants violated the equal protection clause of the 14th Amendment. An attempt by southern legislators to hinder, by excessive talk, passage of civil rights legislation. Organized the Brotherhood of Sleeping Car Porters. A founding leader of SNCC.
In 1920 he became the first black executive secretary of the NAACP.
This agency was established by the 1957 Civil Rights Act. This organization grew out of the Niagara Movement. Desegrated the armed forces of the United States. At the turn of the century this man was considered to be the titular leader of black America.
The first black person to be appointed to a Cabinet level position in the Federal government.
Founded in 1930, this organization espoused black separatism in the United States.
Initiated the bus boycott in Montgomery in 1955. One of three civil rights workers slain in Miss. Sought to determine whether laws pertaining to interstate travel were being enforced.
1. Central High School
2. Ross Barnett
3. Carl Stokes
4. McLaurin vs Oklahoma
5. Emmett Till
6. Addie Mae Collins
7. Plessy vs Ferguson
8. Orval Faubus
9. Executive Order 8802
0. James Meredith
1. Malcolm X
2. Black Panther Party
3. Vivian Malone
4. Earl Warren
5. Autherine Lucy
A.
One of four children murdered in a church bombing.
B.
The governor of Arkansas who resisted integration.
C.
First black student to enroll at Univ, of Alabama.
D.
Struck down laws for the higher or professional education of blacks as failing to meet the requirements of equality.
E.
An Arkansas school which, in 1957, was the center of resistance to school integration.
F.
Chief Justice of the Supreme Court in the Brown case.
G.
Created the concept of "Separate but Equal."
H.
A leading spokesman for the Black Muslims during the early 1960s.
I.
A Mississippi governor who used racial demagoguery to obtain and maintain political power.
J.
Established Committee on Fair Employment Practices.
K.
Black Chicago teenager who was lynched by two white men in Mississippi for having spoken to a white woman.
L.
Became the first black mayor of Cleveland, Ohio and thereby the first of any large city in the U.S.
M.
Originally a political party in Lownes County, Alabama.
N.
First black student to enroll at Univ, of Mississippi.
O.
Along with James Hood, this person sought to integrate the University of Alabama.
1.
2.
3.
4.
5.
6.
7.
8.
9.
0.
1.
2.
3.
4.
R 5.
6.
X 7.
8.
9.
George Wallace Philadelphia, Mississippi Byron de LaBeckwith Buchannan vs Warley Martin Luther King,Jr. Greensboro, N.C. Morgan vs Virginia Medgar Evers Brown vs Board of Ed. Smith vs All right 1960 Civil Rights Act Joseph A. McNeil Boynton vs Virginia Dwight D. Eisenhower John F. Kennedy 1964 Civil Rights Act E. D. Nixon Disfranchisement Sixteenth Street Baptist
A.
This case declared it to be unconstitutional to exclude blacks from voting in state primaries.
B.
Declared that bus terminals may not segregate passengers who are traveling across state lines.
C.
This person is the alleged assassin of Martin L. King.
D.
This 1954 case was to end school segregation.
E.
This person, along with three others, participated in the first lunch counter sit-in demonstration.
F.
The location of the lynching deaths of three civil rights workers.
G.
As President of the United States he did little to enforce school integration.
H.
The site of the bombing deaths of three black girls.
I.
This person organized the Montgomery bus boycott.
J.
This case voided a Jim Crow law as a barrier on interstate commerce.
K.
The acknowledged leader of the civil rights movement.
L.
Outlawed literacy tests as prerequisites to voting.
M.
Field secretary of the NAACP in Mississippi during the late 1950s and early 1960s.
N.
Any process designed to prevent voting.
O.
Declared it unconstitutional to restrict the place of habitat of blacks to certain sections of a town.
P.
The site of the first lunch counter sit-in.
Q.
Established federal voting referees to register blacks.
R.
The U.S. President which blacks expected the most from.
S.
Governor of Alabama who barred the door to the Univ.
Church of Alabama to black students.
=UNLV=
UNIVERSITY OF NEVADA, LAS VEGAS
ETHNIC STUDIES
ETS 480X
Roosevelt Fitzgerald
Summer 11993
$3.20
MATERIALS IN THIS PACKET WERE PROVIDED BY THE CLASS INSTRUCTOR AND PRINTED BY UNLV'S PUBLICATIONS/REPROGRAPHICS DEPARTMENT FOR SALE ONLY TO UNLV STUDENTS ENROLLED IN THE CURRENT TERM. SALES POINTS ARE THE UNLV CAMPUS BOOKSTORE AND REBELBOOKS ON MARYLAND PARKWAY.
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F ig u r e io . i . "Rooti." on Exompfe o / Acculturation In ih t M o m M tdln. An all-black
ItU v M o n drama rracked the larged audience in lelevMon M i lory fo r « tingle-network
production. In one week, from January 13 to January 3 0 ,1 9 7 7 , ~ R o o it“ m reported here
by the W uhlngton Star, made ieletM on hiitory.
19191
It’s Walker’s DeLuxe, sirDg in its
A gift of Walker's DeLuxe carries with it a great
compliment. For this is Hiram Walker’s finest
straight bourbon - 6 years old, 90.1 proof—a truly
elegant whiskey. And now its elegance is accented by
the handsome new Hospitality Decanter shown
suggest DeLuxe in its
new Decanter for your own entertaining .is well ?
0
'/Jrllt.v'
gift decanter
The full distinct it «n ««f rh»« lb*
puiditv Denuiter is nwriikti b\
removing the label. There i.< twi
extra liutrsp for Walker’ • l >»•
Luxe in Ikn'iinhf!*. but
1940
In their ads, especially those promoting the sale of bourbon, liquor manufacturers
frequently used blacks in the role of butler or waiter.
1947
Champion of the world. A Black, boy. Some Black mother's son. He was the
strongest man in the world. [After one of his victories] People drank Coca-Colas
like ambrosia and ate candy bars like Christmas. Some of the men went behind
the Store and poured white lightning in their soft-drink bottles.
It would take an hour or more before the people would leave the Store and
head for home. Those who lived too far had made arrangements to stay in town.
It wouldn t do for a Black man and his family to be caught on a lonely country
road on a night when Joe Louis had proved that we were the strongest people m
the world."
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to
Champion of the Year
JACKIE ROBINSON I One of the most talked
about... one of the most applauded ... one of
the greatest names in baseball. Many honors
have been bestowed upon him. but perhaps the
most significant of ail. is this:
The nationwide audience of "Jack Armstrong —
All-American" recently voted Jackie Robinson
BASEBALL CHAMPION OF THE YEAR!
Jackie Robinson is the first person upon whom
such an honor has been bestowed by the boys
and girls of America.
And—this famous Dodger star is a Wheaties
man! "A lot of us ball players go for milk, fruit
and Wheaties.” says Jackie. "Nourishing and
swell eating the year around.”
Famous for nourishment, these 100*7 ^hole
wheat flakes provide three B vitamins, also
minerals, food energy, protein. Plus secondhelping
flavor! Had your Wheaties today?
Geuvrnl Mills
Listen to “Jack Armstrong — .4.7 American’*.
Sponsored by Wheaties and heard oier the ABC
Network—Coast to Coast—’5.JO P.M. weekdays.
"Breakfast of Champions"
1950
FOUR FACES OF THE MEXICAN
IN MODERN POPULAR FICTION
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c.nz» cartoonist JJL Williams who draw dude-and-cowpoke incident was a cowboy, it probably happened..

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Dick Tracy, the sharp-profiled comic strip detective, was
a natural product of the '30s. Describing his cartoon creation,
artist Chester Gould said, “Big gangsters were
running wild but going to court and getting off scot free.
I thought: why not have a guy who doesn’t take the gangsters
to court but shoots ’em?” So saving, Gould launched
a strip loaded with gunfire. In the very first week, the slaying
of Jeremiah Trueheart (right) marked the first time
anyone had been gunned to death on the funny pages.
More, much more, was to follow, for Dick Tracy, fiance
of Trueheart’s daughter Tess, was so moved by this foul
deed that he signed on for life with the police fo nail
Quaker Oats cereal brought the detective to radio
soon devised a diabolically cunning sales gimmick: the, M
Dick Tracy Secret Service Patrol. A boy's rise up the MMfl
trol hierarchy was directly proportional to how
Quaker Oats he could cram down, for a sergeant's badge
cost five bortops, a lieutenant's, seven, and
company mercifully stopped the escalation at 15 box
but added a fillip for cereal-swelled candidates bucking for
the ultimate rank of Inspector-General: they had to
up with a new Quaker Oats-gobbling recruit for the
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should do this is with us today; it may be that many runaways.
hippies, and sleeping-bag wanderers are dropping
out on their own before they will be (so they feel) fcbanM
ODERN AGE
COMICS
HI
III
II
TH E COMIC STRIPPED AMERICAN THE MODERN AGE COMICS
markable changes which took place in American society and
culture. To the extent that comic strips and comic books
(and all forms of the high arts and popular arts) reflect the
society from which they spring, we find, in just a few years,
some incredible changes though a remarkable kind of conti-
.■nil
nun
■«
THE COMIC STRIPPED AMERICAN BATMAN AND THE ARCHAIC EGO
BATMAN AND THE ARCHAIC EGO
BIBi
nm
wreak vengeance on evildoers, though he does have a semi* "man" in their names lends support for this These
official status and cooperates with the police. Yet, the in- paper heroes are. our spiritual fathers; they are our first
adequacy of the police and normal methods of detection heroes—or were, until television developed in the fo rtiesfree
him to be a transcendent figure. He is only part of Goci- and they are still of considerable importance to us.
ety; the fact that he is masked and disguised gives him an >
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Radio
Comics in "Black-Vjice"
AMOS KANDY
MONDAY to FRIDAY, 7:00 E.S.T., NBC-Rri
announcer: Here they are:—
synopsis: The Amos *n’ Andy show was loaded
with stereotyped Negro comedy roles
—many of them played by Correll and
Gosden—nearly as important as the title
characters and just as popular with the audience.
Two particular favorites were the
Kmgfioh, top man in a fictitious Harlem
lodge called the Mystic Knights of the Sea,
and Lightnin’, clean-up man of the lodge.
As the sequence opens, the raffish Kingfish
is practicing his customary wiles on the
meek Lightnin'.
LIGHTNINDe
fashion show was a financh success?
kingfish
Oh, yeh, it was great all right. Made close
to a hundred dollars fo’ de lodge, an we is
done paid our rent wid dat, an’ light bill
an’ phone bill—all de utiliries.
LIGHTNIN'
Yesaah—dat’s good.
KINGFISH
Den it was voted last night to send some
money oveh to de Harlem Boys’ Club, oveh
on 134th Street, on account o' de openin’
today.
LIGHTNINYesaah_
dat’s a big thing oveh dare fo’ de
jhillmi
KINGFISH
Where’s Amos *n* Andy?
LIGHTNINI
seed Mr. Amos' taxicab, an’ I was oveh
talkin’ to Mr. Andy dis mornin’—he was
goin’ home to bed. He didn’t feel good.
KINGFISH
Too bad. Now, Lightnin’, de reason I ast
yo* to pay some o’ yo’ dues dat yo’ is back
in. De record show dat yo’ ain’t paid but
thirty-five cents in de last two years, an’
dat’s a disregrace to de lodge dat’s putt ectin’
yo’ like it is.
LIGHTNINYessah,
well, I is behind wid ev’rything; my
coffin money’s even back now. Insurance
maw come oveh dis mornin’ lookin fo ten
cents—I had to duck de man—I think dat’s I
done lapsed on me.
kingfish
Wait a minute heah, don’t fo’git dat dis I
lodge is givin’ yo’ puttection.
LIGHTNINWelL
I just ain’t got it. If yo’ would lend I
me some money, I would pay the lodge.
KINGFISH
Whut yo’ mean, me lend yo’ some money:
I is flat as a pancake. I got about fifteen
cents, an’ I gotta git a dollar by tonight
somewhere. We goin’ have comp’ny fo’ supper.
De butcher done tighten up on me. 1
gotta git a couple o’ pole chops in dat house
some way. Yo’ can’t ast de people comin
to supper to eat gravy all de time....
UGHTNINYessah.
KINGFISH
Can’t you go to some friend?
UGHTNIN"
I ain’t got no money friends—all my friends
is sympathy friends—dey listens an feelr
sorry fo’ me, but den dey’s gone.
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Cut!' When ensconced in their big offices, trying to
W E ARE N O T l ALL ALIKE
WE MUST BE CONSIDERED
The Ethnic Image
in the Media
ETHNIC MEN AND, PARTICULARLY, WOMEN SUFFER FROM
TYPECASTING, WHEN CAST AT ALL
By Christine Noschese
. Give me your tired, your poor, your huddled masses yearning to breath free,
the wretched refuse of your teeming shore. Send these, the homeless, tempest-tossed to me,
I lift my lamp beside the golden door."
—Emma Lazarus (inscription on the Statue of Liberty)
III
m
If my grandmother had been able to read English
when she arrived in this country and had seen these
as the first words that described her, she probably, if
she had the money, would have taken the next boat
back to Italy. I don't exactly know where I first
heard this sentiment, but it has been around in my
own head for years. To me it signifies the way ethnic
experience has been portrayed in the American
media, even by people wo should know better.
The media have dealt with ethnicity as if it did not
exist, as if the country were, indeed, one big melting
pot. In the United States, there are 70 million descendents
of immigrants from Ireland, Italy, Spain,
Greece, Armenia, and the Slavic nations. That means
approximately 35 percent of our Nation’s 203 million
population is of white ethnic immigrant descent, and
according to the 1970 U.S. Census, at least half of
these are first and second generation. According to
census data, New York City has more Jews than Tel
Aviv, more Irish than Dublin, and more Italians than
Rome; Chicago has more Poles than any other city in
the world, including Warsaw. Despite these facts,
until recently we were lucky to see anyone at all
ethnic in film or on television.
Our values, concerns, and lifestyles have been
completely distorted, romanticized, and stereotyped.
Our families have been portrayed as psychopathic.
Our successful people have been gangsters of one
kind or another. Ethnic women have been cast as
Christine Noschese is director of the National
Congress of Neighborhood Women and a filmmaker.
This article is excerpted from a paper prepared for
the National Institute of Education Conference on
the “Educational and Occupational Concerns of
White Ethnic Women," held in October 1978.
victims, passive, dependent, narrow-minded, sick, or
invisible as part of the ethnic world.
Ethnicity and class in film
Over 50 percent of all ethnics in this country are
blue collar workers. Ethnicity must be studied in the
context of social class; the lack of ethnic characters
and themes in film is accompanied by a lack of
working class, blue collar people as well.
In Movies on T.V., Steven Scheur lists 7,000
movies. I reviewed the listing and was struck by the
insignificant number of films dealing with ethnics.
Did the producers and directors in the past, many of
whom were ethnic themselves, forget about their
backgrounds? Did they feel there was no market, or
did they themselves become victims of the melting
pot ideology?
Movies are a moneymaking business, but many
famous and successful producers say that they are
never sure what is marketable. It is well known in the
film industry that Star Wars was refused by eight
studios before it was picked up by 20th Century Fox,
and it is grossing over $200 million. The studios also
thought that Easy Rider and American Graffiti had
no market, but the box office proved differently.
There is no great answer for success, Hollywoodstyle.
Producers who started off with nothing, like
Sam Goldwyn, George Zukor, and the Warner
brothers all were ethnics. Directors like Frank Capra,
whose films were political and who wrote about his
own ethnicity in his autobiography, used WASP
characters to make their points. These men chose tofl
deal with the American Dream and the WASP world
in their films, because of the market or their own selfdenial.
They did this while they themselves, along
m
m
IM
■■
■
28 CIVIL RIGHTS DIGEST
with 50 percent of other Americans at practically every stage of our history, were immigrants or had mothers or grandmothers who were.
When I interviewed ethnic women for my study of the impact of media on them, the first question was, “Is there any character who you remember in an American film that portrayed a woman from your ethnic group?”
Most of the women I interviewed thought of someone, no matter how insignificant her role was, but they all hesitated and said, “I have to think about this one for a while.” The Irish thought about what was broadcast on St Patrick’s Day. Of all the Poles and Slavs I interviewed, only one could think of a film she remembered about her ethnic group but she couldn’t remember the name of the film. Most Italians at first only could remember Mafia movies or foreign films.
Movies and television of the past depicted the American family as “The Hardy Boys” or "Father Knows Best” where everyone worked problems out reasonably; everyone was jovial, mentally and physically healthy, and moral. The ethnic American family looked quite different. As the WASP American family was honest, the ethnic family was corrupt. For the few films where the Irish were portrayed as hardworking, jovial people, many more featured a James Cagney hoodlum, with a mother wringing her hands as her son was led away after killing a number of people, saying, “But officer, he was always good to me. He was a good boy.”
■Italians were almost synonymous with crime, and crime was a family affair. The women in the family supposedly were sheltered from the dirty stuff. They were unaware of or said nothing about their sons murdering each other.
'xJR Most of us remember the strong moral traditions that our mothers and grandmothers upheld. I cannot see either James Cagney’s Irish mother nor “killer” Pacino’s Italian mother in The Godfather saying their sons were good boys because they gave them money while they were killing people. According to Hollywood, Mrs. Corleone remains disinterested, as long as she can sit by the fire and make pasta. Only
mothers are endowed with such a capacity for love.)
The new ethnic hero
last 5 years a new sense of ethnicity has emerged. Hortense Powdermaker states throughout her book Hollywood the Dream Factory that movies
30
are a reflection of what is happening culturally to the people who make them. Directors with names like Cassavetes, Coppella, and Scorsese started to produce films with lead characters who were definitely ethnic. Because of ther own experience, the emotional tone of the movies they made was true to life. The camera came to the streets. Working class life was a theme.
Many ethnic Americans, myself included, were so happy to see anyone resembling our life experience on the big silver screen that we clapped and cried. But after the first ten “ethnic” films, my stomach started turning. Somethng was missing; a new stereotype was emerging. The characters now were more complex and sensitive. Their problems often had to do with society and class. But they were still stereotypes.
The themes surrounding the family all involved violence, pathology, and sexuality. The relationships between men and woman are often portrayed as sexually repressive. The religious aspect of the ethnic family is distorted.
In The Godfather, all religious rituals were coverups for crime. The family baptism at the church was an alibi for the murder of seven people. The lead character in Mean Streets goes to church to pray to God about what to do with his life. His decisions lead to violence and destruction.
In Looking for Mr. Goodbar, Diane Keaton’s character leads a life of sexual promiscuity stemming directly from her Irish Catholic parents. They are seen as fanatics, the mother stuffing bibles in her daughter’s pocketbooks while the repressed father wo.ul. drink himself to death rather than face the fact that his daughter might be sexually active.
In Saturday Night Fever, the mother’s only satisfaction in life was to have her oldest son become a priest. She.could conceive of nothing else occupation- ally worthwhile. Her expectations clearly resulted in his and the lead character’s unhappiness with life.
The Exorcist, although not about ethnicity, does deal with Catholicism. In it, a young ethnic priest is the victim of his own guilt towards his mother. When the little girl starts speaking in his mother’s voice, in her native tongue, the priest dies. The clear message M that if you grew up a Catholic, you have a cross to bear that has no redeeming qualities.
Film plots revolve mostly around men’s lives and fantasized macho rituals that from my experience, no matter what the stereotype, are completely exagger- Most ethnic men I know don’t hang out in bars, have never been involved in organized crime, haven’t had a fist fight since they were 14,, and work hard at some regular jstr Most ethnic men devote a Mof
their time to their family and work, as do ethnic women. However, the themes of happy family life are only portrayed in the WASP family.
Besides being religious, the new stereotype shows our families as basically pathological, however sympathetic. Ethnic working class men, it seems, beat their women, gamble, have fist fights, and despise their wives’ sexuality.
In Bloodbrothers, one of the biggest offenders, the father beats his wife so badly that she is hospitalized __all because he thinks that she is sleeping with a neighbor. He never even asks her; he just starts swinging. He is clearly seen as sick, like the men in The Godfather, Mean Streets, Women Under the Influence, and Looking for Mr. Goodbar.
While the new ethnic man is sexist and irresponsible, the women in the new films are worse. They are generally crazier, if they are visible at all. The wife/mother in Bloodbrothers epitomizes the distorted image of the ethnic woman. In one scene she is screaming at the top of her lungs, knees on the floor, hysterical, praying to God holding a crucifix, because her son won’t eat. Her actions, of course, frighten the little boy and make him so sick that he lands in the hospital. The fact that she and her husband have no sex is blamed on her repression.
Within all the melodrama, the director covere himself by trying to make the mother a sympathetic character; she loves her son, etc. Regardless, she is not the Italian mother holding together the family with strength and perseverance, but a women who destroys everything she loves.
In Women Under the Influence, considered one of the “best” films about a working class ethnic family, we again see more pathology. The woman/mother/ wife in the film is too different; she is confused and unhappy with her role. Her confusion and ability to speak up land her in a mental hospital. Her extended family looks and acts like something out of a psychiatric case book—unsupportive, hostile to change and difference, and cold.
What makes these films so upsetting is that they do have redeeming qualities and, in part, accurately describe aspects of working class life. But women never seem to control their own lives in these movies. At best they are victims, passive, and dependent on male approval. The strong, lively, warm backbone of the family is no more. At worst, ethnic women are
My favorite is the mother in Mean Streets. She Mot seen throughout the whole movie. The only sign of her presence is a tray of food she leaves in her son’s bedroom.
32
CIVIL RIGHTS DIGEST
R
WH
M
M
m
m
m
m
Invisible or caricature
Abouth.0 years ago, Raymond League, a black
commercial and television producer at J. Walter
Thompson and one of the first blacks to be hired in an
executive capacity on television, conducted a private
survey with the aid of his friends to document the
underrepresentation of blacks on television commercials.
Their research confirmed what they had suspected
: when it came to television, blacks were indeed
invisible.
League initiated a campaign to remedy that situation,
as did other black individuals and rights
groups. And over the years, they achieved a fair
degree of success—if the fact that blacks are portrayed
no more inanely than whites can be termed a
success.
At first, the only blacks allowed to sell products
were light-skinned, with Caucasian features. Today,
this is no longer the case. Blacks can be dark-skinned
and do not have to resemble Lena Horae or Harry
Belafonte to be acceptable. Even Melba Tolliver, the
black newscaster, is allowed to wear her hair afro
style—although it caused an outcry at first among
network brass.
Television commercials scrupulously present blacks
wholesome nuclear family structures, advertising
products like cold remedies, toilet tissue, soap suds—
never Cadillacs or hard liquor or any product that
could be connected with a negative stereotype. Naturally,
black performers who wish to do television com^
mercials are bound by the same limitations facing
white actors—inane materials, intense competition
for jobs. Nevertheless, commercials have become a
possible source of income for them.
While providing income, for aspiring actors is not of
the highest priority, I would like to point out that
this source of income is not generally available to
those who are clearly white ethnics—particularly
Mediterraneans.
Sacraments, an award-winning play by Jo An
Tedesco, chronicles the life of a family of Italian-
American sisters. The actresses who appeared in it
all had extensive stage credits. Yet, when interviewed,
all expressed their frustration at being untelevision
commercials. They
were repeatedly told they were too exotic, too off-beat
g ethnic’^t<£be viable spokeswomen for
K tfor wax. To be young, gifted, and
be Robert DeNiro, but to
be Robert DeNiro's be unusable in
rKverMsing.
It is true, of course, that Mediterranean and
Jewish women are used in commercials—but generally
only to sell products whose specific appeal is their
ethnicity—spaghetti sauce, frozen pizza, macaroni,
and chicken soup. The actresses’ function is to vouch
for the product’s authenticity and thereby convince
middle Americans they are buying the real thing.
The typical image presented in these commercials
is of an excessively protective mother hovering over
her embarrassed son, urging him to eat. If it’s
spaghetti sauce they’re plugging, the woman will be
middle-aged, plump, and flamboyantly emotional as
she shouts, “Mangia!" to her indulged but obedient
son. If chicken soup is the product, the woman will be
middle-aged, plump, and relentlessly nagging as she
shouts, “Eat already!” to her indulged but docile
son.A
variation on this theme features the possessive
mother-in-law’s wary relationship with her son’s
bride. The mother-in-law has been invited to dinner,
and her distrust of her son’s wife is evident until she
tastes the spaghetti sauce the young woman has
cooked. She is then reassured her son will not starve
to death, expresses her beaming approval that the
sauce is as good as homemade, and the daughter-inlaw
is accepted into the fold. The ethnic woman is
repeatedly presented as a nurturing person who
respects family traditions, but is also possessive and
narrow-minded.
Don't call us
So, if you are Italian or Jewish but not middleaged,
plump, or particularly motherly-looking, you
are too young to be a mother of a grown son, too thin
to advertise food, and commercial agents will not
know where to place you.
While ethnic women rarely sell soap suds, they
never sell beauty products. Either their sexuality is
considered too overt or they are perceived as lacking
a sexual dimension—although the women actually
selling these products might be of Polish or Italian
extraction, this ethnic identity has been blurred to
make them acceptable. In a society that values upward
mobility, using expensive glamour products is
one sign of success, and the traditional WASP sex
object is the medium to convey that message.
It seems that in television commercials as well as
Mie film medium, ethnM^M something to be used
or not used—not to depict who the real American is,
but to portray one perception of what the real
American wants to be.
34
CIVIL RIGHTS DIGEST
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-N-M8 0k ENDEABMBff '
1.
Genre-A distinctive type or category of nedia.
2.
Media-Organized or prearranged methods of mass «»nunication.
3.
Propaganda- Ideas, facts or-alligations spread deliberately to further one’s cause or to damage an opposing cause.
4.
Ji. Crw-Biscriirt—ia. iwrtillr “fcre“*“
or traditional sanctions.
•*
of a particular race.
4. St.rwtyp.-A. ov.r.«n«alization wwciawd with . rwial or .thnie afjory that goes beyond existing evidence.
I. Cultura-Th. owl* o« I"™- b.tartor f»tt«M which or. durwtwiwlc of the members of a group.
Cultuni aa«—ts-C—ia law*. di«. *“»• "d ’“U1 Ojuurtuiu^-DiHm^iU ------ -ord- individuals who - as belonging in a-particular category or group.
Prejudice
gome elements of irrationality, it xs an . t? Mv be directed
wtSrt « iadividuri bw^a h. is . —
of that group. a __.<-i of assimilation and refers to the process
► SS^Xof^forvisn -rias. acW* —
and loyalities of African society.
B^ial—-Th. pro-.-' —rWy pap. with diffcrat alturw ---« have a conaon culture.
s AKulturaia-Th. procs. of taf—ltunl borrwin. ba—n diva- P~P1« resulting in new and blended patterns.
W aUp.aUa-Th. bi.lo.iai -----* °- ^.ially dial— r«Ul «ra».
I. etaaatria-B^nUh. »’<«!»(■ «***" « “***•
6. Nttivia-F—oris, a In-Foup ad oppMia. acculturation.
■ jtor»»-Tne kiad morally biadia. of a partieula poup.
S. Folkways-A ad. of thiakin., f-lia. or ««i”« OTMn ° * 5oeU1 ITOP’ u . • — A —hnieal word for a derogatory term used by the members of
0. .Antilocution-A fancy word for name calling.