Posted on Dec 18, 2023
‘American Society of Magical Negroes’ trailer sparks anger for saying 'White people' are most...
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If this isn't racism, nothing is.
‘American Society of Magical Negroes’ trailer sparks anger for saying 'White people' are most...
Posted from foxnews.comPosted in these groups: 
Racism
Racism
Posted 4 mo ago
Responses: 3
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A.) Mainstream Hollywood, which is mostly controlled by white producers and directors, has primarily made and promoted white-centered movies to court white audiences who are more valued than other racial groups. Apr 1, 2019
Even when films portray people of color in seemingly positive light, the narratives reinforce white normativity or superiority (Bogle 2001; Hughey 2009; Ross 1996). Stereotypical representations are not just imagery on screen, but they affect people’s lives, justifying discrimination and violence against them (Collins 2000). They are circulated through cultural globalization and become a vehicle for “transnational racialization,” inculcating racial hierarchy to those who have not been regularly exposed to black or white people (Kim 2008).
SOURCE : https://journals.sagepub.com/doi/full/10.1177/ [login to see] 832045#:~:text=Mainstream%20Hollywood%2C%20which%20is%20mostly,valued%20than%20other%20racial%20groups.
B.) How American Jews built Hollywood
Many of these Jewish-Americans came from vaudeville and the garment trade, two industries notably hospitable to Jews. Vaudeville theaters presented variety shows: a singer followed by an animal act, followed by slapstick comedy, and so on. Theaters in immigrant neighborhoods had shows in different languages, including Yiddish. This appeal to immigrants, and low ticket prices, made the overwhelmingly white, Christian upper class look down on vaudeville, so they did nothing to keep Jewish entrepreneurs out of the business. Jewish immigrants, many of them arriving with tailoring skills, similarly thrived in the garment industry since it didn’t require much training or money to open a small clothing factory.
When movies were introduced in the late 1890s, success in this new industry required many of the same skills as vaudeville and the garment trade. Salesmanship was the big one: film producers had to sell their movies to theater owners, and theater owners had to then sell to audiences. For example, Carl Laemmle (a German-born Jew) marketed clothing before starting Universal Pictures. Adolph Zukor (a Hungarian-born Jew) sold furs before founding Paramount Pictures, and Jesse Lasky (an American-born Jew), one of his partners at Paramount, was previously a vaudeville horn player. And there were many others, like Shmuel Gelbfisz (a Polish-born Jew) who changed his name to Samuel Goldwyn once he quit selling gloves and entered the film business. Marcus Loew (an American-born Jew) also came from vaudeville before pivoting to movie theaters (AMC Loew’s) and production.
SOURCE : https://jewishunpacked.com/how-american-jews-built-hollywood/
Film
1.) The Magical Negro is a supporting stock character in fiction who, by means of special insight or powers often of a supernatural or quasi-mystical nature, helps the white protagonist get out of trouble. African-American filmmaker Spike Lee coined the term, deriding the archetype of the "super-duper magical negro" in 2001 while discussing films with students at Washington State University and at Yale University.[1][2]
The following list presents examples of the archetype that have been proposed or discussed.
1980s and earlier
edit
* Uncle Remus (James Baskett) in Song of the South (1946)[3]
* Homer Smith (Sidney Poitier) in Lilies of the Field (1963)[4]
* Super Soul (Cleavon Little) in Vanishing Point (1971)[5]
* Grover Muldoon (Richard Pryor) in Silver Streak (1976)[3]
* Big Jim Slade (Manny Perry) in The Kentucky Fried Movie (1977)[3]
* Snoe (Clarence Muse) in The Black Stallion (1979)[6]
* Dick Hallorann (Scatman Crothers) in The Shining (1980)[7]
* Mr. Bloom (Scatman Crothers) in Twilight Zone: The Movie (1983)[8]
* Guinan (Whoopi Goldberg) in Star Trek: The Next Generation (1987-1994)[9]
1990s
edit
* Oda Mae Brown (Whoopi Goldberg) in Ghost (1990)[10]
* Azeem (Morgan Freeman) in Robin Hood: Prince of Thieves (1991)[11]
* Vinnie (Laurence Fishburne) in Searching for Bobby Fischer (1993)[12]
* Benjamin Buford "Bubba" Blue (Mykelti Williamson) in Forrest Gump (1994)[3][13]
* Moses (Bill Cobbs) in The Hudsucker Proxy (1994)[14]
* Ellis Boyd "Red" Redding (Morgan Freeman) in The Shawshank Redemption (1994)[15]
* Ram Dass (Errol Sitahal) in A Little Princess (1995)[16]
* Chubbs (Carl Weathers) in Happy Gilmore (1996)[17]
* Kazaam (Shaquille O'Neal) in Kazaam (1996)[18]
* Arthur Chaney (Bill Cobbs) in Air Bud (1997)[19]
* Ruby Rhod (Chris Tucker) in The Fifth Element (1997)[20]
* Minerva (Irma P. Hall) in Midnight in the Garden of Good and Evil (1997)[21]
* Allen Strange (Arjay Smith) in The Journey of Allen Strange (1997-2000)
* Lamont (Guy Torry) in American History X (1998)[22]
* Rastaman (Amiri Baraka) in Bulworth (1998)[23]
* G (Eddie Murphy) in Holy Man (1998)[17]
* Albert Lewis ("Doc") (Cuba Gooding Jr.) in What Dreams May Come (1998)[24][25]
* Rufus (Chris Rock) in Dogma (1999)[3]
* John Coffey (Michael Clarke Duncan) in The Green Mile (1999)[26][25]
* Morpheus (Laurence Fishburne) and the Oracle (Gloria Foster / Mary Alice) in The Matrix (1999) and its sequels[17][27][25]
2000s
edit
* Elliot's cellmate/God (Gabriel Casseus) in Bedazzled (2000)[17]
* William Bludworth (Tony Todd) in Final Destination (2000) and its sequels Final Destination 2 (2003) and Final Destination 5 (2011)[28]
* Cash (Don Cheadle) in The Family Man (2000)[2][27][29]
* Bagger Vance (Will Smith) in The Legend of Bagger Vance (2000)[1][2][3][27][29][25]
* Tommy Johnson (Chris Thomas King) in O Brother, Where Art Thou?, the accompanying guitarist who claims he sold his soul to the devil in exchange for his musical skill[30]
* The Blind Seer (Lee Weaver) in O Brother Where Art Thou? (2000)[31]
* Juba in Gladiator (2000 film)[32]
* Reggie Kane (Andre Braugher) in Duets (2000)[33]
* Jezelle Gay Hartman (Patricia Belcher), a clairvoyant who sacrifices herself to warn and protect two young, white, twentysomething siblings in Jeepers Creepers (2001)[34]
* Abou Fatma (Djimon Hounsou) in The Four Feathers (2002)[35]
* Mateo (Djimon Hounsou) in In America (2002)[3]
* God (Morgan Freeman) in the films Bruce Almighty (2003) and Evan Almighty (2007)[3][36]
* Alex "Hitch" Hitchens (Will Smith) in Hitch (2005)[3]
* Sam (Morgan Freeman) in Unleashed (2005)[3]
* Lucius Fox (Morgan Freeman) in Batman Begins (2005) and its sequels The Dark Knight (2008) The Dark Knight Rises (2012).[37]
* Charles (Afemo Omilami) in Hounddog (2007)[38]
* August (Queen Latifah), May (Sophie Okonedo) and June (Alicia Keys) in The Secret Life of Bees (2008)[13]
* Louise (Jennifer Hudson) in Sex and the City (2008), where Carrie Bradshaw's emotional recuperation depends entirely on the labor of her plucky black personal assistant, who is disengaged from the storyline as soon as Carrie starts to feel better.[39]
2010s
edit
* Harry "Red" Newman (Danny Glover) in Legendary (2010)[25]
* Brother Sam (Mos Def/Yasiin Bey), a character who appears in five episodes of the sixth season of Dexter (2011)[40]
* The janitor (Jordan Peele) and the copier repair man (Keegan-Michael Key) in a "magic negro" sketch on Key & Peele (2012)[41]
* Henry "Holy Wayne" Gilchrest, Jr. (Paterson Joseph) in The Leftovers (2014)[42]
* Virgil (Steven Williams) in The Leftovers (2014-2017)[43]
* Evelyn (Alfre Woodard) in Annabelle (2014)[44]
* Rich Purnell (Donald Glover) in The Martian (2015)[45]
* Chief Gus Mancuso (Laurence Fishburne) in Passengers (2016)[46][47]
* Keith (John Legend) in La La Land (2016)[48]
* Mr. Church (Eddie Murphy) in Mr. Church (2016)[49]
* Denver Moore (Djimon Hounsou) in Same Kind of Different as Me (2017)[50]
* Ron Strickland (Ice Cube) in Fist Fight (2017)[51]
* Don Shirley (Mahershala Ali) in Green Book (2018)[52]
* Elizabeth Howard (Crystal R. Fox) in Big Little Lies (2019)[53]
* The Salesman (Samuel L. Jackson) in Unicorn Store (2019)[54]
* Madame Xanadu (Jeryl Prescott) in Swamp Thing (2019)[55]
* Jasper John (Wayne Dehard) in The Peanut Butter Falcon (2019)[56]
* Genie (Will Smith) in Aladdin (2019)[57]
2020s
edit
* Peter (Yashua Mack) in Wendy (2020)[58]
* Ebo Odom (Leslie Odom Jr.) in Music (2021)[59]
* Fab G (Billy Porter) in Cinderella (2021)[60]
Literature
Jim[1][2] is one of two major fictional characters in the classic 1884 novel Adventures of Huckleberry Finn by Mark Twain. The book chronicles his and Huckleberry's raft journey down the Mississippi River in the antebellum Southern United States. Jim, who is often referred to in the book as a "nigger," is a black man who is fleeing slavery; "Huck", a 13-year-old white boy, joins him in spite of his own conventional understanding and the law.
A recurring archetype in Stephen King's novels as well as some adaptations of his work:
* Dick Hallorann in The Shining (1977) novel, the 1980 film adaptation (Scatman Crothers), and the 1997 TV miniseries (Melvin Van Peebles)[1]
* Mother Abagail in The Stand (1978) novel and the 1994 TV adaptation (Ruby Dee)[1]
* Lester "Speedy" Parker in The Talisman (1984).[1]
* John Coffey in The Green Mile (1996) novel and its 1999 film adaptation (played by Michael Clarke Duncan)[1][3][13][27][29]
Video games
Far Cry 3: according to writer John Walker, the plot follows an inverted 'Magic Negro' trope.[62]
SOURCE : https://en.m.wikipedia.org/wiki/List_of_Magical_Negro_occurrences_in_fiction
2.) JOURNAL ARTICLE
The Power of Black Magic: The Magical Negro and White Salvation in Film
Cerise L. Glenn and Landra J. Cunningham
Journal of Black Studies
Vol. 40, No. 2 (Nov., 2009), pp. 135-152 (18 pages)
Published By: Sage Publications, Inc.
SOURCE : https://tvtropes.org/pmwiki/pmwiki.php/Main/MagicalNegro
3.) The Power of Black Magic: The Magical Negro and White Salvation in Film
By: Cerise L. Glenn, Landra J. Cunningham
Glenn, C.L. & Cunningham, L. (2009).
Black magic: The magical Negro and White salvation in
film, Journal of Black Studies, 40(2), 135-152. doi:10.1177/ [login to see] 307831
Made available courtesy of Sage Publications:
http://www.dx.doi.org/10.1177/ [login to see] 307831
***Reprinted with permission. No further reproduction is authorized without written
permission from Sage Publications. This version of the document is not the version of
record. Figures and/or pictures may be missing from this format of the document. ***
SOURCE : http://libres.uncg.edu/ir/uncg/f/c_glenn_power_2009.pdf
4.) Magical Negroes can’t exist without a Mister Charlie or Miss Ann
A look at a persistent movie trope in which clueless white characters depend on selfless Black helpmates
A Magical Negro Film Festival is grotesque, profane and dispiriting. It’s a project that requires wandering from universe to universe in which Black people exist to do nothing but be happily obsequious toward the white people they serve. It’s stomach-turning.
In 2017, a few weeks after stories published by The New York Times and New Yorker revealed that Harvey Weinstein was a serial sexual abuser, prompting a geyser of other high-profile revelations, Lili Loofbourow published an essay called The myth of the male bumbler. She wrote about a type of false male innocence that has a parallel in the white innocence James Baldwin identified and decried in The Devil Finds Work.
All the films cataloged in this project re-create the same dynamic, one that has roots in Lost Cause ideology. Over and over, in the white imagination, Black people exist only to serve or help or comfort white people or teach them lessons about life.
The white people in these stories are usually incurious, whiny or co-dependent, and utterly lacking in self-awareness.
But perhaps these hapless Mister Charlies and helpless Miss Anns can finally learn to assist themselves without the aid of a Negro whose only purpose is to usher them along in their personal growth or otherwise save them from themselves.
In Barb and Star Go To Vista Del Mar, the new comedy starring Kristen Wiig and Annie Mumolo, there is a talking crab named Morgan Freemond, an obvious reference to the actor Morgan Freeman, one of the most notorious inhabitors of Magical Negro characters in the history of American film.
“The name’s Morgan. Morgan Freemond. … I am going into the ocean tonight and I shall never return,” the crab says, as dramatic music swells, signifying an important revelation.
“Oh, I have lived a full life — bathed in the sun, slept in the sand. I was in jail, even drove an old lady around and taught her about tolerance and true friendship. But that kid is long gone. This old crab is all that’s left. Goodbye, me,” he says before walking off into the ocean.
The films listed below stretch across decades, genres, cinematic sophistication, budgets, themes, etc. Both The Shining and Same Kind of Different As Me feature Magical Negroes helping emotionally handicapped white people, but they sit on opposite ends of the quality spectrum. Nevertheless, the element of white solipsism is always present.
SONG OF THE SOUTH (1946)
IMITATION OF LIFE (1959)
SILVER STREAK (1976)
THE SHINING (1980)
TWILIGHT ZONE: THE MOVIE – KICK THE CAN (1983)
DRIVING MISS DAISY (1989)
GHOST (1990)
FRIED GREEN TOMATOES (1991)
FORREST GUMP (1994)
KAZAAM (1996)
MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997)
WHAT DREAMS MAY COME (1998)
THE GREEN MILE (1999)
THE LEGEND OF BAGGER VANCE (2000)
BRUCE ALMIGHTY (2003)
MR. CHURCH (2016)
SAME KIND OF DIFFERENT AS ME (2017)
SOUL (2020)
The American Society of Magical Negroes (2024)
Comedy | Fantasy
104 min
Filmmakers
See all (45)
Director
Kobi Libii
Writer
Kobi Libii
Producers
Julia Lebedev (produced by) | Kobi Libii (produced by) | Angel Lopez (produced by) | Eddie Vaisman (produced by)
Composer
Michael Abels
Cinematographer
Doug Emmett
Editor
Brian Scott Olds
Production Designer
Laura Fox
SOURCE : https://pro.imdb.com/title/tt30007864/?rf=cons_tt_atf&ref_=cons_tt_atf
Distributed by
Focus Features (United States)
Universal Pictures (International)[1]
SOURCE : https://andscape.com/features/magical-negroes-movies-cant-exist-without-a-mister-charlie-or-miss-ann/amp/
These are white owned movie and television production companies that have annual/10 year budgets for future production and distribution to the masses.
They run marketing campaigns, go over location cost, directors, producers and actors that are available for the film and television shows to be produced and aired.
There’s script writers and editors, production TEAMS for set design and costumes designs.
Airtimes and lead up ad run campaigns are discussed, given a budget and green lite.
That mirrors a bitch.
Even when films portray people of color in seemingly positive light, the narratives reinforce white normativity or superiority (Bogle 2001; Hughey 2009; Ross 1996). Stereotypical representations are not just imagery on screen, but they affect people’s lives, justifying discrimination and violence against them (Collins 2000). They are circulated through cultural globalization and become a vehicle for “transnational racialization,” inculcating racial hierarchy to those who have not been regularly exposed to black or white people (Kim 2008).
SOURCE : https://journals.sagepub.com/doi/full/10.1177/ [login to see] 832045#:~:text=Mainstream%20Hollywood%2C%20which%20is%20mostly,valued%20than%20other%20racial%20groups.
B.) How American Jews built Hollywood
Many of these Jewish-Americans came from vaudeville and the garment trade, two industries notably hospitable to Jews. Vaudeville theaters presented variety shows: a singer followed by an animal act, followed by slapstick comedy, and so on. Theaters in immigrant neighborhoods had shows in different languages, including Yiddish. This appeal to immigrants, and low ticket prices, made the overwhelmingly white, Christian upper class look down on vaudeville, so they did nothing to keep Jewish entrepreneurs out of the business. Jewish immigrants, many of them arriving with tailoring skills, similarly thrived in the garment industry since it didn’t require much training or money to open a small clothing factory.
When movies were introduced in the late 1890s, success in this new industry required many of the same skills as vaudeville and the garment trade. Salesmanship was the big one: film producers had to sell their movies to theater owners, and theater owners had to then sell to audiences. For example, Carl Laemmle (a German-born Jew) marketed clothing before starting Universal Pictures. Adolph Zukor (a Hungarian-born Jew) sold furs before founding Paramount Pictures, and Jesse Lasky (an American-born Jew), one of his partners at Paramount, was previously a vaudeville horn player. And there were many others, like Shmuel Gelbfisz (a Polish-born Jew) who changed his name to Samuel Goldwyn once he quit selling gloves and entered the film business. Marcus Loew (an American-born Jew) also came from vaudeville before pivoting to movie theaters (AMC Loew’s) and production.
SOURCE : https://jewishunpacked.com/how-american-jews-built-hollywood/
Film
1.) The Magical Negro is a supporting stock character in fiction who, by means of special insight or powers often of a supernatural or quasi-mystical nature, helps the white protagonist get out of trouble. African-American filmmaker Spike Lee coined the term, deriding the archetype of the "super-duper magical negro" in 2001 while discussing films with students at Washington State University and at Yale University.[1][2]
The following list presents examples of the archetype that have been proposed or discussed.
1980s and earlier
edit
* Uncle Remus (James Baskett) in Song of the South (1946)[3]
* Homer Smith (Sidney Poitier) in Lilies of the Field (1963)[4]
* Super Soul (Cleavon Little) in Vanishing Point (1971)[5]
* Grover Muldoon (Richard Pryor) in Silver Streak (1976)[3]
* Big Jim Slade (Manny Perry) in The Kentucky Fried Movie (1977)[3]
* Snoe (Clarence Muse) in The Black Stallion (1979)[6]
* Dick Hallorann (Scatman Crothers) in The Shining (1980)[7]
* Mr. Bloom (Scatman Crothers) in Twilight Zone: The Movie (1983)[8]
* Guinan (Whoopi Goldberg) in Star Trek: The Next Generation (1987-1994)[9]
1990s
edit
* Oda Mae Brown (Whoopi Goldberg) in Ghost (1990)[10]
* Azeem (Morgan Freeman) in Robin Hood: Prince of Thieves (1991)[11]
* Vinnie (Laurence Fishburne) in Searching for Bobby Fischer (1993)[12]
* Benjamin Buford "Bubba" Blue (Mykelti Williamson) in Forrest Gump (1994)[3][13]
* Moses (Bill Cobbs) in The Hudsucker Proxy (1994)[14]
* Ellis Boyd "Red" Redding (Morgan Freeman) in The Shawshank Redemption (1994)[15]
* Ram Dass (Errol Sitahal) in A Little Princess (1995)[16]
* Chubbs (Carl Weathers) in Happy Gilmore (1996)[17]
* Kazaam (Shaquille O'Neal) in Kazaam (1996)[18]
* Arthur Chaney (Bill Cobbs) in Air Bud (1997)[19]
* Ruby Rhod (Chris Tucker) in The Fifth Element (1997)[20]
* Minerva (Irma P. Hall) in Midnight in the Garden of Good and Evil (1997)[21]
* Allen Strange (Arjay Smith) in The Journey of Allen Strange (1997-2000)
* Lamont (Guy Torry) in American History X (1998)[22]
* Rastaman (Amiri Baraka) in Bulworth (1998)[23]
* G (Eddie Murphy) in Holy Man (1998)[17]
* Albert Lewis ("Doc") (Cuba Gooding Jr.) in What Dreams May Come (1998)[24][25]
* Rufus (Chris Rock) in Dogma (1999)[3]
* John Coffey (Michael Clarke Duncan) in The Green Mile (1999)[26][25]
* Morpheus (Laurence Fishburne) and the Oracle (Gloria Foster / Mary Alice) in The Matrix (1999) and its sequels[17][27][25]
2000s
edit
* Elliot's cellmate/God (Gabriel Casseus) in Bedazzled (2000)[17]
* William Bludworth (Tony Todd) in Final Destination (2000) and its sequels Final Destination 2 (2003) and Final Destination 5 (2011)[28]
* Cash (Don Cheadle) in The Family Man (2000)[2][27][29]
* Bagger Vance (Will Smith) in The Legend of Bagger Vance (2000)[1][2][3][27][29][25]
* Tommy Johnson (Chris Thomas King) in O Brother, Where Art Thou?, the accompanying guitarist who claims he sold his soul to the devil in exchange for his musical skill[30]
* The Blind Seer (Lee Weaver) in O Brother Where Art Thou? (2000)[31]
* Juba in Gladiator (2000 film)[32]
* Reggie Kane (Andre Braugher) in Duets (2000)[33]
* Jezelle Gay Hartman (Patricia Belcher), a clairvoyant who sacrifices herself to warn and protect two young, white, twentysomething siblings in Jeepers Creepers (2001)[34]
* Abou Fatma (Djimon Hounsou) in The Four Feathers (2002)[35]
* Mateo (Djimon Hounsou) in In America (2002)[3]
* God (Morgan Freeman) in the films Bruce Almighty (2003) and Evan Almighty (2007)[3][36]
* Alex "Hitch" Hitchens (Will Smith) in Hitch (2005)[3]
* Sam (Morgan Freeman) in Unleashed (2005)[3]
* Lucius Fox (Morgan Freeman) in Batman Begins (2005) and its sequels The Dark Knight (2008) The Dark Knight Rises (2012).[37]
* Charles (Afemo Omilami) in Hounddog (2007)[38]
* August (Queen Latifah), May (Sophie Okonedo) and June (Alicia Keys) in The Secret Life of Bees (2008)[13]
* Louise (Jennifer Hudson) in Sex and the City (2008), where Carrie Bradshaw's emotional recuperation depends entirely on the labor of her plucky black personal assistant, who is disengaged from the storyline as soon as Carrie starts to feel better.[39]
2010s
edit
* Harry "Red" Newman (Danny Glover) in Legendary (2010)[25]
* Brother Sam (Mos Def/Yasiin Bey), a character who appears in five episodes of the sixth season of Dexter (2011)[40]
* The janitor (Jordan Peele) and the copier repair man (Keegan-Michael Key) in a "magic negro" sketch on Key & Peele (2012)[41]
* Henry "Holy Wayne" Gilchrest, Jr. (Paterson Joseph) in The Leftovers (2014)[42]
* Virgil (Steven Williams) in The Leftovers (2014-2017)[43]
* Evelyn (Alfre Woodard) in Annabelle (2014)[44]
* Rich Purnell (Donald Glover) in The Martian (2015)[45]
* Chief Gus Mancuso (Laurence Fishburne) in Passengers (2016)[46][47]
* Keith (John Legend) in La La Land (2016)[48]
* Mr. Church (Eddie Murphy) in Mr. Church (2016)[49]
* Denver Moore (Djimon Hounsou) in Same Kind of Different as Me (2017)[50]
* Ron Strickland (Ice Cube) in Fist Fight (2017)[51]
* Don Shirley (Mahershala Ali) in Green Book (2018)[52]
* Elizabeth Howard (Crystal R. Fox) in Big Little Lies (2019)[53]
* The Salesman (Samuel L. Jackson) in Unicorn Store (2019)[54]
* Madame Xanadu (Jeryl Prescott) in Swamp Thing (2019)[55]
* Jasper John (Wayne Dehard) in The Peanut Butter Falcon (2019)[56]
* Genie (Will Smith) in Aladdin (2019)[57]
2020s
edit
* Peter (Yashua Mack) in Wendy (2020)[58]
* Ebo Odom (Leslie Odom Jr.) in Music (2021)[59]
* Fab G (Billy Porter) in Cinderella (2021)[60]
Literature
Jim[1][2] is one of two major fictional characters in the classic 1884 novel Adventures of Huckleberry Finn by Mark Twain. The book chronicles his and Huckleberry's raft journey down the Mississippi River in the antebellum Southern United States. Jim, who is often referred to in the book as a "nigger," is a black man who is fleeing slavery; "Huck", a 13-year-old white boy, joins him in spite of his own conventional understanding and the law.
A recurring archetype in Stephen King's novels as well as some adaptations of his work:
* Dick Hallorann in The Shining (1977) novel, the 1980 film adaptation (Scatman Crothers), and the 1997 TV miniseries (Melvin Van Peebles)[1]
* Mother Abagail in The Stand (1978) novel and the 1994 TV adaptation (Ruby Dee)[1]
* Lester "Speedy" Parker in The Talisman (1984).[1]
* John Coffey in The Green Mile (1996) novel and its 1999 film adaptation (played by Michael Clarke Duncan)[1][3][13][27][29]
Video games
Far Cry 3: according to writer John Walker, the plot follows an inverted 'Magic Negro' trope.[62]
SOURCE : https://en.m.wikipedia.org/wiki/List_of_Magical_Negro_occurrences_in_fiction
2.) JOURNAL ARTICLE
The Power of Black Magic: The Magical Negro and White Salvation in Film
Cerise L. Glenn and Landra J. Cunningham
Journal of Black Studies
Vol. 40, No. 2 (Nov., 2009), pp. 135-152 (18 pages)
Published By: Sage Publications, Inc.
SOURCE : https://tvtropes.org/pmwiki/pmwiki.php/Main/MagicalNegro
3.) The Power of Black Magic: The Magical Negro and White Salvation in Film
By: Cerise L. Glenn, Landra J. Cunningham
Glenn, C.L. & Cunningham, L. (2009).
Black magic: The magical Negro and White salvation in
film, Journal of Black Studies, 40(2), 135-152. doi:10.1177/ [login to see] 307831
Made available courtesy of Sage Publications:
http://www.dx.doi.org/10.1177/ [login to see] 307831
***Reprinted with permission. No further reproduction is authorized without written
permission from Sage Publications. This version of the document is not the version of
record. Figures and/or pictures may be missing from this format of the document. ***
SOURCE : http://libres.uncg.edu/ir/uncg/f/c_glenn_power_2009.pdf
4.) Magical Negroes can’t exist without a Mister Charlie or Miss Ann
A look at a persistent movie trope in which clueless white characters depend on selfless Black helpmates
A Magical Negro Film Festival is grotesque, profane and dispiriting. It’s a project that requires wandering from universe to universe in which Black people exist to do nothing but be happily obsequious toward the white people they serve. It’s stomach-turning.
In 2017, a few weeks after stories published by The New York Times and New Yorker revealed that Harvey Weinstein was a serial sexual abuser, prompting a geyser of other high-profile revelations, Lili Loofbourow published an essay called The myth of the male bumbler. She wrote about a type of false male innocence that has a parallel in the white innocence James Baldwin identified and decried in The Devil Finds Work.
All the films cataloged in this project re-create the same dynamic, one that has roots in Lost Cause ideology. Over and over, in the white imagination, Black people exist only to serve or help or comfort white people or teach them lessons about life.
The white people in these stories are usually incurious, whiny or co-dependent, and utterly lacking in self-awareness.
But perhaps these hapless Mister Charlies and helpless Miss Anns can finally learn to assist themselves without the aid of a Negro whose only purpose is to usher them along in their personal growth or otherwise save them from themselves.
In Barb and Star Go To Vista Del Mar, the new comedy starring Kristen Wiig and Annie Mumolo, there is a talking crab named Morgan Freemond, an obvious reference to the actor Morgan Freeman, one of the most notorious inhabitors of Magical Negro characters in the history of American film.
“The name’s Morgan. Morgan Freemond. … I am going into the ocean tonight and I shall never return,” the crab says, as dramatic music swells, signifying an important revelation.
“Oh, I have lived a full life — bathed in the sun, slept in the sand. I was in jail, even drove an old lady around and taught her about tolerance and true friendship. But that kid is long gone. This old crab is all that’s left. Goodbye, me,” he says before walking off into the ocean.
The films listed below stretch across decades, genres, cinematic sophistication, budgets, themes, etc. Both The Shining and Same Kind of Different As Me feature Magical Negroes helping emotionally handicapped white people, but they sit on opposite ends of the quality spectrum. Nevertheless, the element of white solipsism is always present.
SONG OF THE SOUTH (1946)
IMITATION OF LIFE (1959)
SILVER STREAK (1976)
THE SHINING (1980)
TWILIGHT ZONE: THE MOVIE – KICK THE CAN (1983)
DRIVING MISS DAISY (1989)
GHOST (1990)
FRIED GREEN TOMATOES (1991)
FORREST GUMP (1994)
KAZAAM (1996)
MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997)
WHAT DREAMS MAY COME (1998)
THE GREEN MILE (1999)
THE LEGEND OF BAGGER VANCE (2000)
BRUCE ALMIGHTY (2003)
MR. CHURCH (2016)
SAME KIND OF DIFFERENT AS ME (2017)
SOUL (2020)
The American Society of Magical Negroes (2024)
Comedy | Fantasy
104 min
Filmmakers
See all (45)
Director
Kobi Libii
Writer
Kobi Libii
Producers
Julia Lebedev (produced by) | Kobi Libii (produced by) | Angel Lopez (produced by) | Eddie Vaisman (produced by)
Composer
Michael Abels
Cinematographer
Doug Emmett
Editor
Brian Scott Olds
Production Designer
Laura Fox
SOURCE : https://pro.imdb.com/title/tt30007864/?rf=cons_tt_atf&ref_=cons_tt_atf
Distributed by
Focus Features (United States)
Universal Pictures (International)[1]
SOURCE : https://andscape.com/features/magical-negroes-movies-cant-exist-without-a-mister-charlie-or-miss-ann/amp/
These are white owned movie and television production companies that have annual/10 year budgets for future production and distribution to the masses.
They run marketing campaigns, go over location cost, directors, producers and actors that are available for the film and television shows to be produced and aired.
There’s script writers and editors, production TEAMS for set design and costumes designs.
Airtimes and lead up ad run campaigns are discussed, given a budget and green lite.
That mirrors a bitch.
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