***Warning. This post contains spoilers
American History X, widely regarded as America's anti-racist film, is ironic as the final message of the movie is guilty of what bell hooks names a white-supremacist capitalist patriarchy.
Known for its raw and "realistic" portrayal of neo-skinhead suburban culture, American History X fails in its anti-racist message as, ultimately, its ultra-racist message of Derek overcoming his past DESPITE constant black opposition is brought forward through the film's stylistic elements.
Created for the privileged (dominant) viewer, the audience almost feels empathy for Derek as he is trying to protect his little brother. Derek plays the saviour, a role with justified violence as he is the guardian for the weak. The protection begins from non-white individuals, but turns to protecting Danny (Derek's brother) from the neo-Nazi lifestyle.
Style and Cinematography
Many of the stylistic elements of the film also push the messiah-esque persona of Derek.
Strong back lighting, golden glow around his head (halo effect), the crucifixion stance, and the opposition from the police officers, designate Derek's character as messiah and foretell of his future message.
Derek is also the quintessential masculine hero; strong, intelligent, "justified" anger, and solitary soldier.
Breakdown
While in jail (for murdering a black man who tried to break into his car), Derek cahoots with other skinheads. But as they are all talk and no action, Derek feels frustrated. Later, he develops a friendship with a black inmate, to the disgust of the other skinheads.
Audiences claim that Derek's friendship with the black man (apart from Dr. Sweeney, no other coloured character really gets a name) is pivotal in his "reformation", but the whole process begins because of his disenfranchisement with the other skinheads.
The gang rape prison sequence only reinforces his alienation with the skinheads (and furthers the notion of homosexuality as an agent of humility) and alienates him from the inmates at large.
Isolated in the netherworld between acceptance for others and hatred, Derek is released from prison to discover his brother's racist ways. Here is where white-supremacist capitalist patriarchy comes into effect. In a sweeping montage, Derek clears his room of its Nazi memorabilia and places everything in his closet ("clean slate", but closet full of skeletons). No mention is shown to actual redemption; Derek just cleans his room.
White-Supremacist Capitalist Patriarchy
Now, despite all the harsh actions that people of colour have committed against Derek (from his view), he is still able to absolve all the hate. But, in an act of extreme motivated representation, the black youth that Danny had fought with re-enters the movie and kills him.
As hooks states, we must acknowledge the culmination of white-supremacist, capitalist, and patriarchal thoughts in order to understand motivated representation. While trying to be "anti-racist", American History X is only anti-racist to the dominant audience but minority reception isn't even considered.
Derek's "redemption" is consistently shown as a despite all odds and obstacles scenario. Black characters are nameless and one dimensional. Derek's strong-man, masculine nature is apparent the entire movie, especially in contrast to the lack of female/feminine dialogs.
While Derek believes that he has redeemed himself, no where in the actual movie does Derek prove that he has changed. A cleaned slate, a clean room, and a closet full of skeletons is all that is left for Derek and his new life.
Box office figures show that many feel that this is enough to overcome racism, albeit a one-dimensional view of it. American History X, depicted from the point-of-view of a ("reformed")skinhead, does not account for the power of representation in pop culture (and the reception of this movie on minority audiences) nor does it convey anything beyond a white-centric version of redemption. Derek, despite his personal transformation, is not willing to sacrifice his white-privilege, furthering the white-supremacist, capitalist, patriarchy.
*This post was heavily inspired by a presentation done by Noori Lee.
1 comment:
I think you nailed it. So many people, myself included until examining further, see this film as a true portrayal of a man redeeming himself and cleansing his past. But, as you mentioned, it does nothing but reinforce the problematic that exists. Now i doubt the screenwriters nor the directors had the intention of this, but that is exactly the problem, that a world that is privileged to the racialized white, neglect to see the problems that arise with what you have brought up. I'm very tired, and newly exploring this concept of white privilege, and so I may not be articulating myself correctly. As someone who is racialized as white, I find it very interesting to explore this concept. A fantastic reading on this is the book Performing White: post modern re/constructions in cinema.
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