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Red: Articles and Videos Against Diversity
Green: Articles and  Video For Diversity
Yellow: Informational Text on Diversity

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Modern Racial Representation in Hollywood and How It Is Effective

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Modern Racial Representation in Hollywood and How It Is Effective

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This video discusses the amount of money made in box offices from movies with diversity.

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Diversity and Racial Representation in Hollywood | E6 | Life Crunch

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Marvel's Diverse Character Are Here To Stay!

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Marvel's Diverse Character Are Here To Stay!

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This image is showing Marvel's take on diversity in their films and comics.

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The Belief That Diversity Kills Comic Sales

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The Belief That Diversity Kills Comic Sales

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This image shows the contrast in the beliefs that diversity builds comic sales.

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CBC Explains The Lack of Diversity in Hollywood 

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CBC Explains The Lack of Diversity in Hollywood 

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This video gives information on what entertainment was before modern age enterntainment.

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The Controversial Portrayal of Minority in  Hollywood Films

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The Controversial Portrayal of Minority in  Hollywood Films

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This article talks about the different types of racial stereotypes portrayed in films and television.

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PORTRAYAL OF MINORITIES IN THE FILM, MEDIA AND ENTERTAINMENT INDUSTRIES

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Uncle Chunt analyzes why diversity is a problem in Marvel comics and films.

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MARVEL'S DIVERSITY PROBLEM: Ranting Chunt

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Marvel's Controversy with Diverse Characters

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Marvel's Controversy with Diverse Characters

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Marvel's vice president talks about diversity control in comics and how diverse characters do not push sales.

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Marvel, the comic book juggernaut known for bringing many iconic superheroes to life, is still figuring out how not to look like a villain.

Over the weekend, part of an interview with Marvel vice president David Gabriel made the rounds, in which Gabriel inelegantly and inadvertently suggested that poor sales reflected readers' disinterest in comic books featuring nonwhite and female superheroes.

"What we heard was that people didn't want any more diversity," Gabriel said in the interview with ICv2. "I don't know that that's really true, but that's what we saw in sales."

Bleeding Cool's aggregation of the interview - "Marvel's David Gabriel On Sales Slump: People 'Didn't Want Any More Diversity,' 'Didn't Want Female Characters'" - went viral, and other sites quickly picked up the story. "Marvel VP of Sales Blames Women and Diversity for Sales Slump," io9 wrote. The Verge reminded Marvel, "Of course your comics are political, Marvel," while Nerdist asserted, "Marvel is wrong about diversity killing its comics."

Marvel and Gabriel quickly issued a statement clarifying his response, but that was about as useful as an umbrella in a hurricane. The genie was out of the bottle.

The rapid response to Gabriel's words isn't just about one quote from one interview, though. Marvel's push for representation and diversity, both on the page and behind it, has been a years-long initiative. Gabriel's response, and the reaction to it, represents a flare-up of long-simmering issues on both the business and artistic sides of the industry, issues that boil down to one complicated question: What is the value of comics diversity, and how do we measure that value?

The context of Gabriel's interview is really, really important

It's important to acknowledge that Gabriel's conversation with ICv2 wasn't just some random interview; it was part of Marvel's summit with comic book retailers. In the first part of the three-part report, two retailers who spoke up asserted that diversity hurt sales. Marvel executives, including Gabriel, were present for those remarks.

"I don't want you guys doing that stuff," one retailer said, explaining the political content in some of Marvel's comics. "I want you to entertain. That's the job. One of my customers even said the other day he wants to get stories and doesn't mind a message, but he doesn't want to be beaten over the head with these things."

Another added:

When you talk about the Academy Awards, and how [inclusion and diversity] was a prime topic, I look at the cold, hard reality, and I'm in business. A lot of those movies, or other things in other media, aren't really big money makers. For me, I care more about whether I'm going to sell it or not.

But there were also retailers who pushed against these statements, saying that sales for comics involving nonwhite heroes, like Miles Morales and Ms. Marvel, were doing well and that diversity was needed. Marvel editor-in-chief Axel Alonso also talked about the beauty of diversity.

But what Gabriel reiterated, and what everyone focused on, was a sentiment from the retailers who came to their own conclusions about why they thought their sales were low.

In order to fully understand why Gabriel echoed these sentiments, you need a basic understanding of how important comic book retailers are in the industry. The business side of comic books is still figuring out how to adapt to an age when we consume art a lot differently than we did five, 10, or 15 years ago. But where television shows and music have figured out new ways to measure consumption (through streaming, DVR recordings, etc.), the comic book industry is still wedded in large part to retailers, even though you can get comic books digitally or via a subscription service.

Without getting into too much esoteric detail, retailers and publishers still abide by a system that's based on orders from independent owners - and that system is part of what's informing the views of the retailers who spoke out against Marvel's diverse titles, as well as Gabriel's response.

Writer and comic book creator Kelly Sue DeConnick outlined the importance of preordering books on her Tumblr, but it basically comes down to comic book shops having limited space, not being able to return stock, and making the savviest orders. Comic book shop owners don't want to spend their budget on books no one wants to buy, so they tend to go with the safe bets - like A-list comic books featuring well-known heroes. Preorders, which customers can arrange through comic book shops, also represent a confirmed sale for the retailer.

Publishers like Marvel, in turn, base their sales numbers off these retailer orders - every order is considered a sale, since retailers don't return unsold comic books. This is what makes customer preorders so important, especially for newer books and books from less well-known creators: They signal to retailers and publishers that there's interest in the book.

This system has helped create a market that's really difficult to break into or change, because its whims are dictated by a specific set of fans who go into the shop and buy individual floppy issues. Moreover, these sales are made three months in advance, sometimes with just bare-bones information about the book (title, author, artist, cover), meaning the sales also favor established writers and artists and legacy titles over creators just getting onto the scene. These sales also reflect the taste of regular customers versus expanding audiences.

It's a system that skews toward the status quo, instead of toward breaking new ground.

Gabriel's gaffe was a public relations nightmare for Marvel's diversity initiative

When Gabriel spoke about the relationship between diversity and sales, he was speaking about sales and feedback from retailers, not necessarily offering a personal opinion. He's very clear in his response (the passage that's gotten a lot of attention) that he's talking about retailers, and what he heard them saying about how diversity hurts.

But things get stickier when Gabriel seems to take the retailer feedback and apply what sounds like a company perspective to it:

ICv2: Now the million-dollar question. Why did those tastes change?
I don't know if that's a question for me. I think that's a better question for retailers who are seeing all publishers. What we heard was that people didn't want any more diversity. They didn't want female characters out there. That's what we heard, whether we believe that or not. I don't know that that's really true, but that's what we saw in sales.

We saw the sales of any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up against. That was difficult for us because we had a lot of fresh, new, exciting ideas that we were trying to get out and nothing new really worked.

It was the old things coming back in that time period, three books in particular, Spider-Man Renew Your Vows, that had Spider-Man and Mary Jane married, that worked. The Venom book worked and the Thanos book worked. You can take what you want out of who might be enjoying those three books, but it is definitely a specific type of comic book reader, comic book collector that really liked those three series.

Saying that diversity, female superheroes, and nonwhite superheroes are the reason sales are down - essentially what those retailers claimed - without questioning it or challenging it isn't a good look for a Marvel representative. What's worse is that Gabriel reiterated a vocal dissent from some retailers and seemed to apply it to the whole market.

That's why Marvel decided to clarify his answer with a statement in which it tried to make clear that it heard from retailers championing the company's diverse books at the summit too, but unfortunately only talked about the negative aspect:

Discussed candidly by some of the retailers at the summit, we heard that some were not happy with the false abandonment of the core Marvel heroes and, contrary to what some said about characters "not working," the sticking factor and popularity for a majority of these new titles and characters like Squirrel Girl, Ms. Marvel, The Mighty Thor, Spider-Gwen, Miles Morales, and Moon Girl, continue to prove that our fans and retailers ARE excited about these new heroes. And let me be clear, our new heroes are not going anywhere! We are proud and excited to keep introducing unique characters that reflect new voices and new experiences into the Marvel Universe and pair them with our iconic heroes.

We have also been hearing from stores that welcome and champion our new characters and titles and want more! They've invigorated their own customer base and helped them grow their stores because of it. So we're getting both sides of the story and the only upcoming change we're making is to ensure we don't lose focus of our core heroes.

The damage was done. Though Marvel tried to bring clarity to the issue, a lot of people were alarmed by Gabriel's initial words.

For fans who want diversity in Marvel's books, Gabriel was at best missing the point, and at worst signaling that Marvel saw diversity as a failed marketing experiment.

This alarm is understandable: Characterizing diversity as a trend that kills comics is a slippery slope, and not a fair assessment. There have been A-List comic books that feature marquee characters such as Tony Stark/Iron Man that bumble into mediocrity. There are also a lot of bad books featuring white male characters that live on the bottom of the comic book ecosystem, but retailers don't up and tell Marvel to stop making white male characters because their books don't sell:

straight white dude characters spun off from your hyper mega popular character who had a movie that did big numbers and they selling GARBAGE
- Colin Spacetwinks (@spacetwinks) March 31, 2017

As the retailers and Gabriel point out, Marvel didn't have the strongest 2016. It's also true that Marvel has recently focused on diverse heroes. But to connect the two and think the latter begets the former without taking into account any other factors asserts causation with correlation.

There are other metrics by which to measure a comic book's success. But they're harder to quantify.

The most important thing to keep in mind is that retail sales are only one metric by which to determine the success or failure of certain comic books.

What those miffed retailers failed to mention is that, according to Comic Book Resources' analysis, The Mighty Thor, Marvel's comic with a female Thor, is a top seller, as is Ta-Nehisi Coates and Brian Stelfreeze's Black Panther.

Many people also buy their comic books in collected volumes (trade paperbacks) and/ordigitally, and the digital market has been growing. According to a 2015 report from the digital retailer Comixology, comic books featuring female leads dominate in digital sales. In a 2014 interview with Marvel's Sana Amanat, Amanat said that Ms. Marvel was the company's top digital seller. There are also comic books like Moon Girl and Devil Dinosaur that do well online, in trades, and in the Scholastic arena but don't have stellar retail sales.

What gets tricky is that companies like Marvel aren't usually very open about releasing digital numbers. On top of that, retail sales are the biggest driver of which comic books get green lights and which ones get canceled - even when an audience doesn't really know a book exists (because of a lack of marketing or the lack of stock on shelves), or because they don't know the ordering and preordering system.

There's also the harder-to-quantify matter of prestige, and the nonmonetary value it brings to a title. To that point, the Hugos, which award the year's best science fiction and fantasy works, released their nominations on Tuesday. Three Marvel comic books were honored - Black Panther and Ms. Marvel were two of them.

G. Willow Wilson, the writer of Ms. Marvel, wrote about Gabriel's interview on her personal site, directly addressing the idea of the two different markets and how the industry needs to adapt. "The direct market [the retailer/comic book shop market] and the book market have diverged. Never the twain shall meet. We need to accept this and move on, and market accordingly," she wrote.

But aside from the numbers, there's another conversation happening here about the deeper meaning of Marvel's commitment to diversity.

The real value of comics diversity

I haven't always been a fan of Marvel's editorial choices. The past couple of years, I've found myself dropping some Marvel books in reaction to prices going up, the company's relentless crossover events, and a weird editorial decision that left one of my favorite characters, Emma Frost, missing from a lot of the action after Marvel's giant Secret Wars event. I'm also puzzled as to why some of the company's best books (Unbeatable Squirrel Girl, , Unstoppable Wasp, etc.) don't receive the marketing push other titles do. Beyond me, there's been a vocal pushback against some of Marvel's editorial decisions, like its Captain America-is-a-Hydra-agent reveal.

That said, when it comes to what Gabriel was trying to say and what he ended up saying, he deserves a genuine shake. Undercutting his argument or cherry-picking his words doesn't achieve anything. If we're looking for a serious discussion about diversity and sales in the industry, his statement about their sales potential should be taken seriously.

There needs to be an honest conversation about balancing the sales potential of diverse comic books and the value of said books. Marvel has to look at the books it's publishing - taking into account everything from the artists creating them to how they're being marketed - and consider how, or if, they're getting to the audiences that want to read them.

And when there are statements that directly blame diversity for a slump, the company should (and probably will, considering this nightmare of a news cycle) really think about all the other factors at play before giving it credence.

It's a two-way street too.

The way the comic book industry records sales and fan interest isn't going to change overnight. There's an opportunity here for audiences to consider how they support good books. Getting annoyed with retailers is the easy part. Figuring out how to support good writers -especially nonwhite and female writers who are just breaking into the industry - and the good books they write is more difficult.

Grant Morrison, a comic book writer who worked for Marvel and DC, wrote in his 2011 book that comic books and superheroes have the power to be as influential in shaping a person's morality as religion. It's something that's stuck with me, partly because Chris Claremont's X-Men run was hugely influential in my view of humanity, empathy, and kindness.

Morrison's observation is pertinent here for how it encapsulates how we look at superhero comic books. They're stories about morality, justice, humanity, and the good in people. They're pieces of art.

They're also products.

Marvel is connected to the morals of the art it creates in a way other artistic pursuits aren't. There's an implicit expectation that the company pumping out these lessons about life and justice should be as good as the stories it's creating. It would be a death knell for the company if its culture and its product became diametrically opposed.

The appeal for diversity in comics comes from the expectation that a company that's built on stories about finding the good in one another, about brilliance in the overlooked, about finding heroes where you least expect them and standing up for what's right, should be exhibiting those values in real life. Even when some people in the business say otherwise.

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Marvel misspoke about diversity in comics. Now it has a chance to do better.

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Marvel, the comic book juggernaut known for bringing many iconic superheroes to life, is still figuring out how not to look like a villain. Over the weekend, part of an interview with Marvel vice president David Gabriel made the rounds, in which Gabriel inelegantly and inadvertently suggested that poor sales reflected readers' disinterest in comic books featuring nonwhite and female superheroes.

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The Guardian article touches on the subject of what Marvel thinks about their diverse characters and the future for the characters in comics and films.

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Marvel's vice president of sales has blamed declining comic-book sales on the studio's efforts to increase diversity and female characters, saying that readers "were turning their noses up" at diversity and "didn't want female characters out there".

Over recent years, Marvel has made efforts to include more diverse and more female characters, introducing new iterations of fan favourites including a female Thor; Riri Williams, a black teenager who took over the Iron Man storyline as Ironheart; Miles Morales, a biracial Spider-Man and Kamala Khan, a Muslim teenage girl who is the current Ms Marvel.

But speaking at the Marvel retailer summit about the studio's falling comic sales since October, David Gabriel told ICv2 that retailers had told him that fans were sticking to old favourites. "What we heard was that people didn't want any more diversity," he said. "They didn't want female characters out there. That's what we heard, whether we believe that or not."

He added: "I don't know that that's really true, but that's what we saw in sales ... Any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up."

Gabriel later issued a clarifying statement, saying that some retailers felt that some core Marvel heroes were being abandoned, but that there was a readership for characters like Ms Marvel and Miles Morales who "ARE excited about these new heroes". He added: "And let me be clear, our new heroes are not going anywhere! We are proud and excited to keep introducing unique characters that reflect new voices and new experiences into the Marvel universe and pair them with our iconic heroes.

"We have also been hearing from stores that welcome and champion our new characters and titles and want more! ... So we're getting both sides of the story and the only upcoming change we're making is to ensure we don't lose focus [on] our core heroes."

Online, readers scorned Gabriel's remarks, pointing to Marvel's tendency over the last few years to focus on restarting and rebooting storylines, creating a complicated web of interwoven universes, as well as an overwhelming output that fans struggled to keep up with.

Alisha Rai (@AlishaRai)
I love how Marvel thinks people are tired of "diversity".

NO I AM TIRED OF WATCHING UNCLE BEN DIE 373929463 TIMES.

Anthony John Agnello (@ajohnagnello)
An idiotic conclusion, @Marvel. I stopped buying your books because of the high price & event fatigue not diversity. https://t.co/uysUOwOBkh

ㅤmanu (@hoesling)
Marvel thinks diversity is ruining their sales? Idk, MAYBE turning Captain America, a worldwide symbol, into a nazi has something to do

Writer of the Kamala Khan Ms Marvel series, G Willow Wilson responded to Gabriel's comments, writing that "diversity as a form of performative guilt doesn't work" and criticising Marvel's tendency to introduce the new iterations of fan favourites by "killing off or humiliating the original character ... Who wants a legacy if the legacy is shitty?"

"A huge reason Ms Marvel has struck the chord it has is because it deals with the role of traditionalist faith in the context of social justice, and there was - apparently - an untapped audience of people from a wide variety of faith backgrounds who were eager for a story like this," she wrote. "Nobody could have predicted or planned for that. That's being in the right place at the right time with the right story burning a hole in your pocket."

One retailer told ICv2 that increased diversity had brought a new clientele to his store. "One thing about the new books that go through my store, they don't sell the numbers that I would like," he said. "They do bring in a different demographic, and I'm happy to see that money in my store."

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Marvel executive says emphasis on diversity may have alienated readers

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Marvel's vice president of sales has blamed declining comic-book sales on the studio's efforts to increase diversity and female characters, saying that readers "were turning their noses up" at diversity and "didn't want female characters out there".

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This is another article that examine racial stereotypes in today's entertainment.

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Cinematic stereotypes reflect and shape common prejudices. Perceptions can be influenced by portrayals of Asians as nerdy, black men as dangerous and Latinas as fiery. So, how does Hollywood portray various groups?

In recent years, there has been increased attention on racism and sexism in Hollywood films, which can be reflected in who acts in front of the camera, who directs behind it and how people are represented on-screen - and often all three. To illustrate how stereotypes have developed in Hollywood, DW analyzed tropes used in more than 6,000 Oscar-eligible movies since 1928.

Hollywood history provides many examples of racist caricatures. Black and Asian people have been repeated targets. Take the 1961 Audrey Hepburn movie Breakfast at Tiffany's and the bucktoothed Mr. Yunioshi, whose stereotypical "Engrish" accent was intended to mock Japanese people. He is notorious, and there are so many more examples.
From racist caricatures to lingering stereotypes
"Racism, in the form of job exclusion and racially stereotyped roles, has defined the Hollywood film industry since its birth in the early 1900s," the sociologist Nancy Wang Yuen writes in her book, Reel Inequality: Hollywood Actors and Racism. Indeed, Asian characters in the early days of Hollywood mostly appeared in the form of racist cliches - either as mysterious, menacing villains or as laughable caricatures such as Mr. Yunioshi. In addition to everything else, that character is played by the entirely white American actor Mickey Rooney, thus making it an example of yellowface: a non-Asian person impersonating an Asian person.

This practice used to be quite common in Hollywood. Production teams were reluctant to hire minority actors of any kind, instead often opting to use white actors in their place. This practice became self-reproducing: Sociologists have found that prejudices break down when people of various ethnic groups have increased contact with each other.

But Asian communities have historically been frequently marginalized in the United States. "Even today, most images of Asians and Asian Americans on screen weren't created by Asians or Asian Americans, but by people who don't know much about them," says Kent Ono, who studies media representations of race at the University of Utah. "This creates a very strange idea of who Asians and Asian Americans are for those who don't know any Asian people. And it also creates a very confused and estranged relationship by Asians and Asian Americans to Hollywood, because they can't fully identify with this bizarre representation of themselves."

The information on these stereotypical cinematic devices has been compiled in the community-generated wiki TVTropes.org, from which the names of the various tropes detailed in this article are drawn. Users there can document any recurring motif they observe in a piece of media: Which TV shows claim Elvis is still alive? Which video games feature a creepy child character? Does a movie feature a white actor dressed up to look Asian?

In 2012, for example, the movie Cloud Atlas drew criticism for making many of the non-Asian actors up as Asian characters for part of the film. Many critics argued that, as there are already so few roles for Asian actors, let alone roles that are not caricatures, white actors should not be cast to play Asian characters. That came up again when Scarlett Johansson starred in the live-action film of the classic Japanese manga series Ghost in the Shell and then Tilda Swinton played an originally Asian character in Doctor Strange. And the list goes on.

A trope that began to appear more frequently in the 1960s and '70s is what TVTropes calls the " Mighty Whitey, Mellow Yellow" dynamic: a powerful white main character with a submissive Asian love interest. Before the 1950s, strict self-censorship in US cinema forbade romantic pairings between people of different ethnicities, or "miscegenation," which meant that there were even fewer roles available to Asian actors. When self-censorship gave way to the current system for rating motion pictures, instances of the trope increased, which indicated that this stereotype of Asian women had already existed before it was depicted on the screen.

Other tropes also became more prominent in the second half of the century. In the 1970s and '80s, the popularity of Bruce Lee and martial arts movies in general led to the entrenchment of the "All Asians Know Martial Arts" trope.

But the most common way of representing Asians and Asian-Americans in US media today is as the "model minority," Ono said: "They might be scientists, doctors or in some technical field. By and large, they're good students, come from good families and don't have any economic problems." This stereotype is not specifically recorded in the TVTropes wiki, but it overlaps with the "Asian and Nerdy" trope, which has occurred more frequently in recent decades.
Minority groups underrepresented
What this analysis cannot show is the share of movies that have nonstereotypical nonwhite characters. These don't typically get documented in the TVTropes wiki. In general, it's difficult to make any large-scale assessments of whether there are fewer stereotypical depictions now than there used to be.

What researchers do track, though, is the number of nonwhite actors cast and how many directors and writers of color see their films produced. "The greater the range of different roles, the less likely people are to think that a group is just one of these representations," Ono said. Conversely, there is all the more weight on individual characters for groups who are rarely represented on-screen.

Hollywood still has a long way to go, according to the Hollywood Diversity Report from the University of California, Los Angeles (UCLA): The share of female and nonwhite characters on-screen has risen quite steadily over the past few years, but also quite slowly. Even though Asians, for example, make up more than half of the world's population, and just under 6 percent of the US population, only 3 percent of all roles in 2017 and 2018 were played by Asians. Black characters made up 12.5 percent of all roles, which approaches proportionate representation for the US population. But in many cases, the portrayals are quite problematic.
Black characters die first
As with Asians, black characters often weren't played by black people in the early days of Hollywood. In fact, they barely appeared at all, except as caricatures played by white actors in blackface. This practice originated in the American theater tradition of minstrelsy, in which racist stereotypes about black people were a staple.

Blackface occurs much less frequently now, after a long period of criticism of the practice: In Dear White People, for example, college fraternity members throw a blackface-themed party, which the film, as well as the Netflix series of the same name, use as the basis for a discussion of racism at colleges across the United States.

But, as Hollywood has featured more black characters and cast more black actors, it has also emphasized other stereotypes. To this day, black men are often portrayed as scary or angry and black women as loudmouthed and sassy. If a movie features one token black character, it's likely to be the black best friend. And, if people die in a movie, the black character is still likely to go first. Even with awareness of racial stereotypes rising, Hollywood persists with these tropes.
If Africa is featured, it's dangerous and untouched by civilization
Hollywood's stereotypical depictions of black people mostly refer to black Americans. Tropes that are about Africans are rarer, partly because few Hollywood movies have African characters. The most common trope about Africa, though, is what TVTropes users have dubbed "Darkest Africa": Movies portraying the continent as a mysterious and dangerous isolated land with only limited ties to "modern" civilization. That depiction has become less common, however.
Latino characters are defined by their sex appeal
Latinos are the largest ethnic minority in the US, making up around 18 percent of the population. A look at 2,682 movies since the year 2000 finds that tropes about Latino characters focus most often on their sex appeal. For women, this translates as the "Spicy Latina" trope: a temperamental temptress who can hold her own and always looks sexy.

Men get the role of the seductive "Latin Lover," often a fling for a white woman. Additionally, films tend to ignore the diversity of Latino cultures throughout the Americas: A particular brown-skinned, black-haired look is presented as defining the appearance of all Latinos. TVTropes users call this trope the "Latino is brown" stereotype.

The stereotypes perpetuated in movies are particularly hurtful to historically oppressed and marginalized groups. But there are enough tropes in Hollywood to go around. And for groups who don't feel the detrimental effects of being stereotyped in their everyday lives, seeing themselves poorly represented causes much less pain.
Germans in movies are still often Nazis
The most common stereotype about Germans in movies since 2000 is that they are all Nazis. That is closely followed by the character of the German scientist, filed under "Herr Doctor" on TVTropes. The latter was probably influenced by the real-life scientists who fled to the US during the Nazi regime, most notably Albert Einstein, who was born in Germany.

A curious trope has to do with Germans' supposed love for Baywatch and Knight Rider star David Hasselhoff. In 1988, Hasselhoff released his version of the song "Looking for Freedom," which was originally recorded by the German Marc Seaberg in the 1970s. Hasselhoff performed the song at the Berlin Wall just weeks after it fell at the end of 1989. The song fit the zeitgeist and was indeed popular in Germany for a time. Now, the "Germans Love David Hasselhoff" trope is used by the TVTropes community as a shorthand for any person or character who receives unexpected popularity outside of their home country.
A British accent is an indicator of evil
Surprisingly, the most dominant trope about the British is not the classic posh accent or the stereotype of uptightness, though both are on the list. No, British characters overwhelmingly seem to be a popular choice for villains. This is so pervasive that the British actors Ben Kingsley, Mark Strong and Tom Hiddleston even starred in a 2014 Super Bowl commercial poking fun at the trope.

A British accent even seems to signal villainous intent in animated characters: The Egyptians in The Prince of Egypt, the Dreamworks rendering of the biblical story of Moses, have British accents; an animated car with a British accent is the bad guy in the Pixar movie Cars 2; and The Lion King, Kung Fu Panda and Rise of the Guardians all feature British-sounding villains, just to name a few films.
Russians: Tough, rough and played by non-Russians
Finally, Russians in movies are still very much defined by Cold War-era images in Hollywood. The most common stereotype is the "hard-fightin', heavy-drinkin', manly, boorish" character, as the corresponding TVTropes entry describes it. These characters often bear the brunt of the suffering during the movie, getting injured or generally leading hard lives.

Curiously, movie Russians are quite often played by non-Russians. In Rocky IV, the Swedish Dolph Lundgren started his action career as Russian boxer Ivan Drago; Arnold Schwarzenegger in Red Heat and Viggo Mortensen in Eastern Promises are other examples. During the Cold War, there was a predictable shortage of actual Russian actors in Hollywood. But, even in newer movies, non-Russians are often cast to play Russian characters.
Diversity pays
Changing gears would be in Hollywood's best interest: According to the report, movies and TV shows with fairly diverse casts bring in more at the box office and get higher ratings from audiences. However, Hollywood is still a long way from representing the diversity of the world - or even that of the United States. White people are still considerably overrepresented in front of the camera, as well as behind it. That fact, too, has an influence on how stereotypes are perpetuated.

A few events in recent years have given rise to optimism that this might change. When she won the Oscar for her performance in Fences in 2017, Viola Davis became the first black woman to win the triple crown of acting over the course of career, including her two Tony Awards for stage work and the 2015 Emmy for her role in How to Get Away With Murder. In 2018, the romantic comedy Crazy Rich Asians became a box office hit with an all-Asian cast. And the Vietnamese-American actor Lana Condor has the lead role in the successful teen romance To All the Boys I've Loved Before on Netflix.

As the figures from UCLA's Diversity Report indicate, proportionate and accurate representation is not yet the norm. "We're still facing huge challenges," says Kent Ono, "and there are always going to be people that go back to the historical trove of representation. But I'm more hopeful now than even two years ago. There are great independent people doing the work to push out those representations. And sometimes, Hollywood listens."

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What Hollywood movies do to perpetuate racial stereotypes - DW - 02/21/2019

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Cinematic stereotypes reflect and shape common prejudices. Perceptions can be influenced by portrayals of Asians as nerdy, black men as dangerous and Latinas as fiery. So, how does Hollywood portray various groups?

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The Many Different Perceptions of Culture

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The Many Different Perceptions of Culture

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This article discusses the the different perceptions of diversity in the media and modern entertainment.

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Media, entertainment, and other forms of popular culture play a significant role in shaping our perceptions of others. For many of us, popular culture is the primary way we learn about people who are different from us. The problem, though, is that many representations are based on cultural stereotypes, which tend to marginalize and caricature members of nondominant groups. Through these representations, we see a limited, and distorted, view of others.

Both entertainment and news media are powerful forces in creating and perpetuating negative cultural stereotypes, especially about racial and ethnic groups. In television and film, characters from nondominant racial and ethnic groups often fall into formulaic tropes, and their storylines easily follow cliche narratives. The consistency of these representations reinforces stereotypes and makes them more readily available in our minds.

For example, black men and boys are systematically portrayed negatively in both news and entertainment programming. Many media images of black men are linked to criminality or poverty, and positive depictions are often limited to sports and music. One study of local news coverage found that black people are disproportionately portrayed as criminals, while white people are more often shown as the victims of crime. Despite the reality that most crime happens between members of the same racial group, the media exaggerates the prevalence of black-on-white crime. Though these representations are factually inaccurate, they are often left unquestioned because they fall in line with prevailing cultural stereotypes.

In order to transform perceptions, we must transform our cultural landscape into one that puts forward people of color in all of their complicated humanity, rather than relying on tired stereotypes. Popular culture is a critical vehicle in this work, as it can be used to promote more nuanced and varied representations. Perception Institute recognizes this potential-we harness social science research on the power of narratives to shift perceptions and use this evidence base to upend and expand current representations. At the same time, Perception Institute engages in empirical evaluation of cultural products to determine their impact on implicit bias, racial anxiety, and ultimately, behavior.

Learn more by exploring some of our events and products relating to narrative and culture change:

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Representation: Culture & Perception | Perception Institute

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Media, entertainment, and other forms of popular culture play a significant role in shaping our perceptions of others. For many of us, popular culture is the primary way we learn about people who are different from us. The problem, though, is that many representations are based on cultural stereotypes, which tend to marginalize and caricature members of nondominant groups.