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Christian Elder takes to twitter with a "taking matters into my own hands" attitude knowing that bigger corporations in the film industry will not give Black creators the respect and support they deserve, as evident in several social media posts already. His use of the #BlackDirectors is to bring awareness to the abundance of Black creators in the film industry. Elder says he's "tired of never seeing this on twitter" nodding to the fact that BIPOC creators and their creations are never talked about, it is never mentioned or brought up and Elder has specifically been waiting for that conversation for quite a while. He shows an impatience for the fact that the racism within the film industry and media has refused to give BIPOC adequate representation.

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Again, we see that the hashtag #BlackDirectors is used to promote art that would not have been as recognized otherwise. Even in the original article advertising the art there is a lack of description of who the director is and what lead to such success. Perhaps Adweek purposely left out that the director was Black with the mentality that "equality means treating all creators the same" because an article never accentuates the whiteness of other creators after all. That mentality is one that many major film and media industries hold up which allows them to underrepresent BIPOC, just like they did in this Adweek post. It took another Black creator to retweet and post just to let a fraction of the audience know that this is a Black director who made a film at the same quality level as an Adidas commercial. This author knew that putting the specific descriptive word Black behind their hashtag would give the director the attention and success they deserved but would not get from mainstream media and the film industry.

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Richard D Bailey takes to Twitter to air his grievances on the fact that Amazon prime has decided to capitalize on Black movies during a time when many Black activist were taking a stand against the injustices they face everyday. In this tweet the hashtag #BlackMovies is used to notify and inform people that only certain movies had become less accessible to people who wanted to watch them. The use of the "#BLM" is the author insinuating to his audience that small things like prices being raised on Black movies are what hold up the systemic racism in th efilm industry for all BIPOC.

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This tweet gives the perfect example of how hashtags can be grouped together to reach a certain group of people. Here, almost every form of media is included  in the form of a hashtag, and each one of them has the descriptive word Black behind it. The author continuously categorizes these forms of media as specifically Black and praises them as the best of the best. This is not something that happens with all ethnicities and races, in fact it is almost as if this author is "making up for lost time" and promoting Black work as excessively as media does with white films, music etc. Hashtags like these are effective because it allows for people to actively search out and support minority films who do not get the benefits that major movies do simply because of the systemic racism that infiltrates the media.

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Gina Prince-Bythwood quotes herself in the article she appears in for Harper's Bazaar magazine in this set of tweets. She compares the childhood of BIPOC kids to satellites orbiting a star, which in most cases is a source of life. With this analogy Gina wants to tell her audience that this metaphorical "star" she mentions is the medias and its quo status is predominantly white. This "star" allows for life to thrive int he same way that the media has allowed to white children to grow up seeing themselves on television, magazines, and just about everywhere. As a screenwriter and film director Gina has the power to make a change about the status quo and she realizes that noticing representation, or lack thereof, starts young.

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In this particular post by Renard Adams, the author is bringing attention to the fact that the famous Marvel Entertainments "X-Men" comic book series has a major character that is Black and Female. With and open book and wide smile Renard takes to documenting this moment on Twitter because of how uncommon this situation is. Rarely is there intersectional representation in any major entertainment company, let alone one that is a personal favorite, as Renard mentions he is a "fanboy" of the company.

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This hashtag is a collection of Black Directors creating a community to share their film work, encourage each other and spread information about directing films. A couple workshop sign ups and a lot of release dates and advertisements.

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This hashtag provides endless threads of movies that have a majority Black cast. From Rom-com to Action to inspirational films, it creates a resource for people to widen their viewing horizons. A few posts share their opinion on how Hollywood disregards or appropriates movies that were originally BIPOC centered or created.

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This hashtag is filled with BIPOC who are either sharing the positive impacts of seeing themselves represented in the media or airing their grievances of how they are not being represented enough and are demanding change.

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Upright, Craig. “Bringing Color into the Living Room: Analyzing TV Guide Covers, 1953 to 1997.” Sage Journals , Online , 27 May 2015, journals-sagepub-com.mantis.csuchico.edu/doi/full/10.1177/0092055X15588561.

White, Renée T. I Dream a World: Black Panther and the Re-Making of Blackness, 1 Apr. 2018.

Hennekam, Sophie, & Syed, Jawad. (2018). Institutional racism in the film industry: A multilevel perspective. Equality, Diversity and Inclusion: An International Journal, 37(6), 551-565.

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Proper representation BIPOC in the film industry can create such an impact in the communities of all ages, races, and cultures. In view of recent events, like the Black Lives Matter Movement, people have started to realize that there is a disconnect from BIPOC in the film industry and a lack of proper representation in front of and behind the camera. Several sources provided in the project give insight into the realities of subtle racism in pop culture and how it affects mass communities.

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What systemic racism is evident in the film industry and how does that affect what kind of media people consume?

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What systemic racism is evident in the film industry and how does that affect what kind of media people consume?

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Sophie Hennekam and Jawad Syed wrote the article Institutional racism in the film industry: a multilevel perspective in which they recorded their findings of a variety of interviews they had conducted. These interviews consisted of both white and non-white participants of the film industry, from directors, to playwrights, to actors and what their thoughts and experiences were on systemic racism in the industry they were in. Many of the non-white interviewee's mentioned that racism remarks were something that they got used to, as they came with the job or that those situations were out of their control. Some however realized that not tolerating that kind of behavior from their white peers and coworkers meant that they could actually change the views that are being put out into popular culture by racist creators. Hennekam and Syed write "Some of these women moved to an occupation where they were less dependent on others. Especially a shift from acting to writing/producing emerged from the data. Three interviewees explained that this gave them more freedom to express the voices of under-represented groups in the industry" (Hennekam and Syed, Institutional racism...). The realization that the input behind the scenes directly affects the consumer of the scenes was a strong motive and reason to dismantle the systemic racism, even if just by one person at a time.

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What percentage of film media accurately represents BIPOC?

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What percentage of film media accurately represents BIPOC?

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Although finding an exact percentage of BIPOC representation in popular culture proved to be a challenge due to constant change and shift in the industry, the article Bringing Color into the Living Room: Analyzing TV Guide Covers, 1953 to 1997 by Craig Upright provides a study of the dramatic shift in representation as a result of the civil rights movement. Craig explains one of his visual graphs by stating "However, in the 45-year period used in this analysis, [minority entertainers] constituted just a fraction of all entertainers portrayed: 135 different nonwhite individuals out of 2,073 total unique entertainers (6.5 percent) were depicted on these covers." (Upright, Bringing Color...).  Less than ten percent of entertainers  on TV were of a minority groupat this time, and this change only happened due to the shift in legislation and society that the civil rights movement made. This depiction of IPOC on television was hardly for representation, but for performative reasons.

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How does representation of BIPOC in films affect audiences and the film industry alike?

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How does representation of BIPOC in films affect audiences and the film industry alike?

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One recent and fantastic example of effective representation of BIPOC in popular culture film is the movie Black Panther directed by Ryan Coogler. In the article I Dream a World: Black Panther and the Re-Making of Blackness by Renee T. White, White explains how all sides of the industry were able to come together to create a non-westernized, Afrofuturistic film, formats writers to its characters there was a majority Black representation. Stated int eh article, White says, "The Black Arts Movement emerged from the activism of writers and focused on developing a black esthetic which places the experience and voice of black people at the center of the narrative. Larry Neal explains that, as the esthetic and spiritual sister of Black Power,  the Black Arts Movement proposes a radical reordering of the western cultural esthetic. It proposes a separate symbolism, mythology, critique, and iconology. The Black Arts and the Black Power concept both relate broadly to the Afro-American’s desire for self-determination and nationhood" (White, I Dream a World). This film provides an accurate example of how film industry and audience are intertwined and her representation affects them both alike. This perspective encourages the idea that one cannot affect an audience if they cannot relate to who is creating the story.