Black Women On Screen: How Modern Media Perpetuates Old Stereotypes

By: Faith Robinson-Hughes

Many people have had the opportunity to meet a Black woman at least once in their lifetime. Plenty of people have been blessed to forge long-lasting relationships with the Black women in their lives. These women are loving, kind, resourceful, and intelligent. We have figures such as Michelle Obama, Ava Duvernay, and Beyonce, who have helped to create positive images of themselves, which, in turn, helped pave the way for other Black women to follow in their footsteps. We have also witnessed Black women fight for women’s rights, LGBTQ+ rights, and racial equality, all while continuing to evolve within their personal lives. These achievements sound extremely impressive on paper and are a testament to how invested many Black women are in creating a better world for everyone. However, striving for a more equitable world often takes a physical and emotional toll on the Black woman. Unfortunately, Black women are also struggling with high rates of medical neglect, racial inequality, misogynoir, sexual abuse, high levels of domestic violence, neglect from law enforcement, and a plethora of other systemic problems that have still been unaddressed on an impactful level. 

It’s natural and productive for American society to finally ask the question: Why is this happening to Black women? What stereotypes are being perpetuated about Black women that excuse this harsh treatment towards them, and where are they coming from? Throughout the history of American media, platforms such as television, film, broadcasting, music, and social media have been used to spread information about current events. Our trust in these platforms to deliver both entertainment and news has led society to trust the information that is being presented through these channels without much consideration for potential biases. For activists and people invested in creating spaces that value equity, learning how Black women’s characteristics are often exaggerated to create caricatures of them helps us better understand who Black women really are without the stereotypes. 

A study conducted by Georgetown Law entitled “Girlhood Interrupted” reveals unsettling ideologies that adults from various racial backgrounds have of young Black girls between the ages of 0 and 19. One piece of information that the study uncovered was that most of the participants believed that most Black girls knew more about adult topics or sex than their White female counterparts. This assumption can be associated with and is often perpetuated through film by the Jezebel stereotype. According to sociologist Dr. David Pilgrim, “The Jezebel was depicted as a black woman with an insatiable desire for sex.” This stereotype’s use against Black American women can be traced back to slavery when White slave masters forced themselves onto their female slaves. The article also states, “The slavery era Jezebel, it was claimed, desired sexual relations with white males; therefore, white men did not have to rape black women.” In other words, the Jezebel stereotype was used during slavery to justify the rape of Black women by White slave masters.

A Japanese anime entitled The Disastrous Life of Saiki K follows a young teenage boy named Saiki Kusuo as he navigates high school with his powerful psychic abilities. Throughout the series, he develops friendships, acquaintances, and enemies. Saiki eventually attracts the attention of Aiuro Mikoto, who is notably darker than the rest of the characters. The show does not clarify Aiuro’s ethnicity, but due to her Japanese upbringing, she is widely assumed to participate in a Japanese subculture called Gyaru. This subculture is characterized by lots of makeup, heavy tanning, promiscuous clothing, and blonde hair. Although her ethnicity is never clearly stated, her physical attributes closely resemble those of Black women. This also includes the size of her breasts, butt, and waist, which is heavily showcased and even commented on by other characters within the show. She possesses a wild temperament, and her focus is almost always on something of a sexual nature. The show constantly orchestrates scenarios where her body is on display. This is especially concerning given the fact that Aiuro is a sixteen-year-old girl. Even though this is a fictional character, many people tend to assume that this characterization is an accurate representation of young girls who resemble Aiuro. Since Aiuro’s physical features closely resemble those of Black women, combined with the rampant Jezebel stereotype that has already been established within our media from centuries ago, this character inadvertently provides an inappropriate mischaracterization of darker-skinned women.

Another issue that “Girlhood Interrupted” uncovered was that the adults being surveyed believed that Black girls needed less protection and nurturing than White girls. This closely aligns with the “strong Black women” stereotype and is a heavily portrayed archetype of Black women throughout today’s media. Kara Manke’s article How the “Strong Black Woman” Identity Both Helps and Hurts states, “Many black women in America report feeling pressured to act like superwomen, projecting themselves as strong, self-sacrificing, and free of emotion to cope with the stress of race and gender-based discrimination in their daily lives.” The strong Black women trope within film and television was initially created by Black women as encouragement against racial discrimination. However, the commercialization of Black trauma has commodified the depiction of Black women’s abuse. The image of Black women enduring hardships with grace quickly turned into the glamorization of abuse toward a Black woman who is neglected by her peers while refusing to ask for help from the community around her. The depiction of Black women on screen as unbeatable and almost superhuman strips the Black woman of her power to be vulnerable. Michonne’s character in the award-winning show The Walking Dead is a woman who is fierce with a no-nonsense attitude. While this depiction of her can be empowering, the downside to Michonne’s character is her inability to take care of herself before she takes care of others. This character teeters between the line of the “mammy” and “the strong Black woman.” Her drive and strength overpower her sense of identity, sometimes washing out any deeper emotions Michonne’s character may be feeling when facing tough circumstances. 

One of the most silencing stereotypes of Black women is the Sapphire, most commonly known as the “angry Black woman.” The Sapphire is often depicted as fiery, hotheaded, and irrational. They are frequently found degrading a male figure of some sort, usually their husbands. This caricature is abusive towards their spouse and is portrayed as being so bitter that their troubles are taken out on everyone around them. Tyler Perry’s popular comedy series, Madea, depicts an elderly Black woman and her chaotic family. The depiction of Madea is often a controversial one within the Black community due to the difference in the perception of her character. 

Some would argue that this is an accurate depiction of older Black women that they know. However, many people have deemed Tyler Perry’s depiction of plus-sized Black women as offensive due to Madea’s volatile temperament. Her explosive reaction to certain situations is often seen as an exaggerated response to a minor situation. This is further emphasized by the minimal reactions of the people around her, making it seem as though Madea’s responses to certain circumstances are unreasonable. Madea’s character is also controversial because she embodies several different common stereotypes, including the “mammy.”

It is important to note that this caricature of Black women was not created to be a true reflection of a Black woman’s character. This idea of Black women is often used to invalidate the voices of Black women who stand up against the injustices that they face. It is used as a way to categorize Black women as irrationally angry while disregarding their mistreatment. 

The stereotypes of Black women within film and television are reflective of the mistreatment that they have and still endure. Only a few of these harmful caricatures have been discussed within this article. However, the various ways in which Black women are misrepresented on screen are extensive and have undeniable consequences. As the film industry introduces Generation Z into its professional workspace, it is important to acknowledge the responsibility that comes with producing and distributing art. Who will this art impact, and how will it impact them? What messages am I spreading through my art? Am I further marginalizing a community that is already being oppressed? These are important questions for upcoming artists to think about when distributing their content, and it is imperative that we begin to rebuild communities through mutual understanding.