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            "note": "<p dir=\"ltr\" style=\"line-height: 1; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"text-decoration: underline;\"><span style=\"font-size: 15px; font-family: Arial; color: #000000; background-color: transparent; font-weight: normal; font-style: normal; font-variant: normal; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;\">Queer Black Women</span></span></p>\n<p dir=\"ltr\" style=\"line-height: 1; margin-top: 0pt; margin-bottom: 0pt;\"> </p>\n<p dir=\"ltr\" style=\"line-height: 1; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 15px; font-family: Arial; color: #000000; background-color: transparent; font-weight: normal; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">This collection is a brief introduction to the intersections of race, sexuality and gender - more specifically, it is an introduction to queer, Black women. So often is this intersection policed by more dominant and privileged identities that it is important to include those who have been systematically disregarded in this manner. This collection seeks to include as many different aspects of the lives and experiences of queer, Black women as is possible to fit within the parameters of the assignment, therefore there are representations of many different identities and medias from novels to music videos and a web series. Having navigated through these sources, hopefully an interested reader will have become equipped with a multi-dimensional, however introductory understanding to queer, Black women.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1; margin-top: 0pt; margin-bottom: 0pt;\"> </p>\n<p dir=\"ltr\" style=\"line-height: 1; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 15px; font-family: Arial; color: #000000; background-color: transparent; font-weight: normal; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">“Redefining Realness,” and “Zami,” are similar in that they are both autobiographies which take advantage of the art of storytelling to call attention to real life struggle, understanding and growth. People like Audre Lorde and pieces like “Zami” paved the way for activists like Janet Mock, and made possible many of the sources in this collection. The third book, “Invisible Families,” is included here because it uses survey and interview data in an attempt to understand older generations of queer, Black women through newer, more radical perspectives, as offered by websites like BlackGirlDangerous.org (BDG), which is also included in this collection through a piece about “Black gurls” and mental health that was published on the site. Also included is the film “The Aggressives,” which offers discussion on gender expression, specifically masculinity, within queer, Black women communities. The web series, The Peculiar Kind, features queer women of color speaking about their lives experiences and opinions on a variety of different topics, one of which is about queers in the media and features the music group, TheeSatisfaction, which is also on this list because of the ways in which their identities influence their politics and art.</span></p>\n<p><strong id=\"docs-internal-guid-cce99223-015d-2fe4-5fb0-ff1db5cfaa2c\" style=\"font-weight: normal;\"><span style=\"font-size: 15px; font-family: Arial; color: #000000; background-color: transparent; font-weight: normal; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Limitations to this collection include the lack of resources before 1982 (the oldest text is Lorde’s “Zami”). A more apt title would reflect this constraint, or an inclusion of artists like Gladys Bentley or activists like Marsha P. Johnson. This collection also falls short on identities related to religion, ability and international perspectives. It could have included resources from StaceyAnn Chin and/or Darlene Garner. There are several other people to have included such as Tracy Chapman, AZ Marie Livingston and Miss Major. This list could have also benefited from some theory as well, however, it serves as a mere introduction to an immense area of intersectional identity and study.</span></strong></p>",
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            "note": "<p>Black Women in Media: Representing and Constructing Social Paradigms</p>\n<p> </p>\n<p>Keywords: News. Visual/Print. Films. Television. Music Videos/Pop Culture. Advertising/Marketing.</p>\n<p> </p>\n<p>Introduction: My research on Black Women in Media identifies how images and representations of Black women in news, visual and print, television, pop culture, and advertising and marketing campaigns can depict normative ideologies and fix dominate narratives that perpetuate stereotypes and perceptions of self, that simultaneously create larger narratives of race perceptions. With media and entertainment being at the forefront of social practice meanings are often understood through television, media, and print campaigns that can portray, perpetuate and circulate globalized ideologies of false, and unrealistic representations of women, specifically Black women. The following collection of sources supports and analyzes the use of Black females bodies in American media and how American media can impact racial perceptions of self and social paradigms.</p>",
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            "note": "<p>OVERVIEW: Hip Hop Feminism: The Politics of Our Voices</p>\n<p> </p>\n<p>This annotated bibliography provides literature that examines the various aspects of a new branch of feminism – Hip Hop Feminism. Hip-Hop was an artistic form created by disgruntled youth in Bronx, NY in the early 1970’s. Using words to a beat, they spoke passion into the mic about police brutality, Black on Black violence, and welfare among others and their voices were influential. Those voices however were male voices. The industry had made it a system built for and by black men. Black women were mere accessories made the dance in skimpy clothes around the men, in the background, on cars but never on the mic. This was and still is the saddest of oppressions because it is by Black males, our own kind. However, as seen through the discourse of history, Black women never stay broken. Instead, in the late 70’s and early 80’s many Black female emcees refused to quit for their chance to be heard. In doing so, hip hop feminism, loosely defined as the use of political and hip-hop sensibilities to effect equality, justice and social change, was created. With pioneers such as MC Lyte, Queen Latifah and Rah Digga as visual pioneers, these women have forced their way to recognition in a system not built to encompass them. With powerful songs like “Ladies First” by Queen Latifah, these women have used powerful imagery, lyrics and movement to create a framework and mandate for respect—an avenue to their voice, a journey to their stories. However, this does not come without controversy. Since hip-hop had been made to be such a masculine, misogynistic genre, these women were painted as masculine and aggressive with many questioning their gender and sexual choice. Therefore, as the feminism has evolved, female emcees have let go of the hard hit lyrics and are now wearing less and less clothes, many wonder if hip hop feminism is reverting or progressing; a question these set of reference could help answer. Many of the additional references (videos and articles) in this annotated bibliography provide resources for you to form your own opinion on this question.</p>",
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            "note": "<p><span style=\"text-decoration: underline;\">Building a Better Bechdel: A Move to an Intersectional Film Theory<br /></span></p>\n<p> Since Crenshaw coined the term, \"intersectionality\" its definition has expanded to encompass not just the plights of black women but any group created out of intersecting marginal identities. It is this more open definition from which I depart. Crenshaw uses intersectionality to discuss how the law fails in intersectional situations, mainly how it fails black women in cases of institutionalized discrimination, but I wish to use her theory to show how the media fails when attempting to represent marginalized groups, mainly black women. Many an arguably \"feminist\" film has underrepresented, failed to represent, or explicitly discriminated against women of color. Many a \"black\" film has problematically represented women, homosexuality, poverty, wealth, and other identify signifiers. The failure of both these genres is especially damaging for black women who, like with many feminist or black movements, go poorly represented or underrepresented in both. The failure of film academia to create a more intersectional school of criticism only adds fuel this missrepresentation. Not only is there a problem, but there is also no model to address and critique the problem. Using Crenshaw's theory I will both show why the current state of film theory fails intersectional identities and move to create a more intersectional film theory.</p>\n<p>Allison Bechdel's \"The Rule\" illustrates the place feminist film theory has stagnated in the past thirty years. The once revolutionary revelation that most films do not fill the requirements laid out by her fictional characters: 1) there are at least two named women who 2) talk to each other about 3) something other than a man, what has come to be known as <em>The Bechdel Test,</em> has since become an inadequate standard by which to criticize films. Though the majority of films still do not meet this standard, the ones that do fail in their representation of women in other ways: the quality of the representation, the racial or class diversity of the women, or the institutionalized or internalized negative systems or ideals the film reinforces. By still utilizing <em>The Bechdel Test, </em>feminist film criticism has failed to incorporate cultural criticism and therefore put itself at the risk of becoming irrelevant.</p>\n<p>bell hooks' essay, \"Male heroes and female sex objects: Sexism in Spike Lee's Malcolm X\" illustrates how film which positively and productively presents blackness and black stories, fail on a feminist level. Spike Lee, she argues, creates nuanced black male heroes at the expense of black women. Read in tandem with Jesse Williams, \"Me Tarzan, You Jane. Me Django, You Chains\" and Chimamanda Ngozi Adichie's \"The danger of a single story,\" one can see how narrow depictions of blackness, ethnicity, or black stories, even when done with positive or productive intentions, do more harm than good. Their prevalence and dominance in a market which excludes most other stories like theirs makes it so only one story is told. When that story fails to represent or poorly represents black women or other aspects of blackness, new problems are created in the wake of these otherwise positive films. </p>\n<p>Eartha Kitt's<em> I'm Still Here: Confessions of a Sex Kitten </em>shows how the failures in representation of the film industry impact the actors within it. The book shows what it is like to be a performer in an industry that commodifies narrow representations of blackness and womanhood, while discriminating against others. Kitt's biography draws the connections between poor representations in the industry and institutionalized discrimination as a whole: how one begets the other and vice versa.</p>\n<p>hooks' \"Reel to real: race, sex, and class at the movies\" and Jane Gaines' \"White Privilege and Looking Relations: Race and Gender in Feminist Film Theory\" both attempt to create a more intersectional film theory. hooks approaches film theory as a cultural critic to provide a much needed racial, gendered, and class-oriented lens to film theory. Gaines approaches film theory as a feminist film critic, a marxist, and a psychoanalytic critic to point out the problems with feminist film and film theory and the ways cultural, marxist, and psychoanalytical criticism begins to address them. Both articles while helpful in the establishment of an intersectional school of criticism, do not make the leap from cultural critique of certain schools of film theory to the culturally informed film theory this project seeks to create.</p>\n<p><em>Rogers and Hammerstein's Cinderella </em>is an example of what movies should aspire to in terms of intersectional representation. Not only did the film feature actors of color in starring or prominent roles, it also created an ethnically diverse fantasy world full of equally diverse extras. As far as seemingly unattainable standards of productive representation go, especially of black women, <em>Cinderella </em>sets a far higher standard than <em>The Bechdel Test</em>. Using the other sources, I will parse out what makes <em>Cinderella </em>an intersectionally productive film and create a set of requirements on which to base the new school of intersectional film theory.</p>\n<p> </p>",
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            "note": "<p style=\"text-align: center;\"><strong>Navigating Racial, Gender and Class Stereotypes</strong></p>\n<p>My essential reading is <em>Divas on Screen: Black Women in American film.</em> I picked this book because Mia Mask starts off by introducing the most famous African American women in film: Dorothy Dandridge, Pam Grier, Whoopi Goldberg, Ophrah Winfrey, and Halle Berry. I think Mia Mask sets up an amazing framework in her book for looking at these women in conjunction to blackness and womanhood.</p>\n<p>The reason this work is the essential reading is because it opens up the conversation about the ways in which the roles that these African-American icons of film have been subjected to roles that questionably demean the representation of black women. I feel this particular book is a good spring board into other discourses within the context.</p>\n<p><strong>Purpose</strong>: Mask examines the ways in which these women have been able to navigate racial, gender and class stereotypes. The traits portrayed through the roles played by these women in each film is different and purposeful and/or harmful to how black women are portrayed on the screen.</p>\n<p>Mask divides the chapter and relates each actress to a particular description. For example, erotic charisma, sexual charisma and comedic charisma just to name a few.</p>\n<p>Mask says that, “<em>Divas on Screen</em> is an examination of the star persona of five African American women, all of whom have transcended- but also been shaped by perusal, professional and sociopolitical obstacles to cross into the mainstream international sociopolitical obstacles.”</p>\n<p><strong>Argument:</strong></p>\n<p>Mask argues that each actress has played a role in adding to the discourse of identity, culture and womanhood.</p>\n<p>1. In the film <em>Tamango,</em> Mask claims Dorothy Dandridge's status as a sexual commodity is revealing the contradictory discourses regarding race and sexuality in America culture especially during the time of segregation.</p>\n<p>2. Pam Grier performed in<em> Women in Cages, The Big Doll House, Coffy and Foxy Brown. </em>Her roles Mask argues are highlighting the ways in which there is a tension in representing African-American women as both objectified stereotypes and powerful, self defining icons.</p>\n<p>4. <em>Sister Act</em> and<em> The Associate</em> started Whoopi Goldberg and that having an impact of the medias perception of her continuous comedic habits.</p>\n<p>5. Lastly, Mask argues that these women didn't appear on their own but instead Horaio Alger and Dorothy Dandridge's careers made Halle Berry's and Oprah Winfrey's success possible.</p>\n<p>6. Mask also argues that these successful black women complicate the conventional discursive representations of blackness and womanhood in film and television.</p>\n<p><strong>Conclusion</strong>:<br />Overall, in this book Mask intends to go beyond the “good politically progressive model” verses that “bad regressive black stereotype” binary and this is not to dismiss the impact of racial stereotypes because Mask does touch on these issues briefly in each chapter. Instead, the aim is to ask the question of what can we learn and gain from understanding the complexity and sometimes contradictory lives of successful black women? More, what does it mean for African Americas to exist with this, what Mask describes as, narcissistic culture?</p>\n<p>&nbsp;</p>",
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                    "tag": "Economist"
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                {
                    "tag": "Emani Lewis"
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                {
                    "tag": "Employment Rate"
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                {
                    "tag": "Expectations"
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                {
                    "tag": "Labor Force"
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                    "tag": "Politics"
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                {
                    "tag": "Poverty Rate"
                },
                {
                    "tag": "Productivity"
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                {
                    "tag": "Single Mothers"
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                {
                    "tag": "Welfare Reform"
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                {
                    "tag": "Welfare System"
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