Transgressing the Controlling Images of African-American Women? Performing Black Womanhood in Contemporary American Television Series

Drawing from intersectionality theories and black feminist critiques of white, masculinist, and racist discourses still prevailing in the American popular culture of the twenty-first century, this article looks critically at contemporary images of African-American women in the selected television series. For at least four decades critics of American popular culture have been pointing to, on the one hand, the dominant stereotypes of African-American women (the so-called controlling images, to use the expression coined by Patricia Hill Collins) resulting from slavery, racial segregation, white racism and sexism as well as, on the other hand, to significant marginalization or invisibility of black women in mainstream film and television productions. In this context, the article analyzes two contemporary television shows casting African-American women as leading characters (e.g., Scandal, 2012-2018 and How To Get Away With Murder, 2014-2020) to see whether these narratives are novel in portraying black women’s experiences or, rather, they inscribe themselves in the assimilationist and post-racial ways of representation.

Choosing love, marriage and the traditional role

Stereotypes of white women have historically limited their identities to that of wife and mother. Though restrictive, this type of femininity has been mobilised to create hierarchies of womanhood that legitimate this form and subordinate others. However, social change since the feminist second wave has seen the renegotiation of women’s position, and contemporary antiracist and LGBTQIA+ discourse has seen further departure from traditional ideals of femininity. Mass media is a dominant site where controlling images of women are negotiated and in which dominant, or hegemonic, forms emerge. This article applies Feminist Critical Discourse Analysis to examine popular British gossip magazine Heat’s romance and sex narratives for discourse which (re)produces, negotiates or challenges hegemonic femininity. Through the appropriation of feminist language, Heat propagates an updated hegemonic femininity which preserves the racio-patriarchal discourse of gender difference whilst pacifying feminist audiences. Estereótipos de mulheres brancas historicamente limitam suas identidades aos papéis de esposas e mães. Embora redutoras, essas categorias têm sido mobilizadas com o objetivo de criar hierarquias de feminilidade que as legitimam enquanto subordinam outras formas do feminino. Contudo, desde a segunda onda do feminismo, mudanças sociais relativas à renegociação do lugar da mulher assim como discursos antirracistas e pró-LGBTQIA+ têm possibilitado um distanciamento dos ideais tradicionais de feminilidade. A mídia de massa veicula imagens de mulheres que acabam se tornando dominantes e hegemônicas. Este artigo aplica a Análise Feminista Crítica do Discurso a narrativas de romance e sexo veiculadas na popular revista inglesa Heat e investiga discursos que (re)produzem, negociam ou desafiam a feminilidade hegemônica. Através da apropriação do discurso feminista, a revista Heat propaga uma versão atualizada de feminilidade hegemônica que preserva discursos patriarcais racializados da diferença de gênero ao mesmo tempo em que tenta apaziguar o público feminista.

Women Agents in the East German State Security

In the communist camp during the Cold War, exercising power was a male domain. The Ministry of State Security (MfS) of the former German Democratic Republic (GDR) was no exception. Within the organization, women were employed but they rarely made a career. In the bottom of the State Security hierarchy were the agents. This article examines who were the women agents in the rank of the MfS. Based on statistical materials, it gives an overview of women’s role and the character of their covert work. Inspired by Andrea Petö’s introduction of the concept of controlling images to intelligence studies, particular focus is devoted to the question whether the MfS agents complied to the stereotypes of women in intelligence work.

What’s Wrong with Stereotypes?

Stereotypes are commonly alleged to be false or inaccurate views of groups. For shorthand, I call this the falsity hypothesis. The falsity hypothesis is widespread and is often one of the first reasons people cite when they explain why we shouldn’t use stereotypic views in cognition, reasoning, or speech. In this essay, I argue against the falsity hypothesis on both empirical and ameliorative grounds. In its place, I sketch a more promising view of stereotypes—which avoids the falsity hypothesis—that joins my earlier work on stereotypes in individual psychology (2015) with the work of Patricia Hill Collins on cultural stereotypes (2000). According to this two-part hybrid theory, stereotypes are controlling images or ideas that enjoy both a psychological and cultural existence, which serve a regulative social function.

Baldwin’s Transatlantic Reverberations

James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.

Black Femininity and Stand Your Ground: Controlling Images and the Elusive Defense of Self-Defense

Stand Your Ground (SYG) laws are color-blind and gender neutral in language, providing all citizens the right to use deadly force with no obligation to retreat when they experience a “reasonable” threat. However, SYG protections depend on implicit racial and gender biases. Using the case of Siwatu-Salama Ra, the elusive nature of SYG protections is explored as it relates to dominant stereotypes regarding Black femininity. The argument is made that this othering of Black women as aggressive, fearless, and in need of discipline is a miscarriage of justice and provides the ideological groundwork for the exclusion of Black women from self-defense protections.