A Critical Analysis of Whitewashing in Film and Television
In the realm of film and television, a troubling practice known as whitewashing has cast a shadow over the industry. This investigation focuses on the ethical dimensions of race-based casting, homing in on the contentious act of whitewashing where white actors assume roles originally conceived for diverse characters. As the spotlight intensifies on this issue, critical questions emerge about representation, diversity, and cultural sensitivity within the media. Should the industry ban white casting in roles designed for underrepresented ethnicities to foster a just and inclusive portrayal?
The practice of whitewashing persists as a multifaceted issue with historical roots dating back to the early days of Hollywood. The historical prevalence of whitewashing underscores its persistent challenge, with instances stemming from discriminatory practices and racial biases. The modern times, this controversial casting practice remains prevalent, contributing to ongoing debates and calls for change within the industry. The film and television sector, as a powerful influencer of societal norms, grapples with acknowledging the problem and navigating public backlash, indicating a responsibility to respond to evolving societal values. Critics argue that whitewashing perpetuates cultural insensitivity and reinforces stereotypes, making authenticity and cultural sensitivity key values in the discourse surrounding this practice. Advocates against whitewashing prioritize the fundamental value of representation, urging the industry to display the diversity of cultures and ethnicities accurately for a richer understanding of the world. The duty to inclusivity stands as a counterpoint, emphasizing equal opportunities for actors from various racial and ethnic backgrounds across the industry. Balancing the market appeal with authentic storytelling and creative freedom adds layers to the ethical dilemmas faced by filmmakers and producers in casting decisions. In navigating controversies surrounding whitewashing, individuals and organizations grapple with public relations values, reinforcing the importance of managing criticism, reputations, and public sentiment accurately. Understanding historical context becomes crucial in acknowledging industry patterns and challenges, presenting a duty to historical context in the decision-making process. These values and primary loyalties underscore the complexity of the whitewashing controversy, weaving a tapestry of ethical considerations within the fabric of film and television.
In examining the prevalence of whitewashing in the film industry, a striking example is found in the controversial casting decisions of “The Last Airbender” film. The issue of whitewashing in “The Last Airbender” film is representative of a broader problem embedded in the Western entertainment industry — the default assumption that led characters should be portrayed by white actors. This industry tendency often leads to token representation for characters of color, characterized by adherence to stereotypes and underdeveloped character arcs. However, “Avatar: The Last Airbender,” the animated series that inspired the film, sought to challenge this norm. Influenced by Eastern Asian art, culture, and mythology, the show gained acclaim for its departure from Occidental storytelling.
In the world of Avatar, human civilization is divided into four cultural formations, each named after the classical elements: Water Tribes, Earth Kingdom, Fire Nation, and Air Nomads. The Air Nomads, modeled after Tibetan Buddhist culture, play a pivotal role in the series. Aang, the protagonist, is an Air Nomad destined to bring balance and harmony to the world as Avatar. Despite the cultural context intricately woven into the series, the film adaptation, particularly in the portrayal of Aang, succumbs to whitewashing. Noah Ringer, a white American actor, embodies Aang, standing in stark contrast to the series’ depiction. This whitewashing becomes more pronounced during a sequence where Aang visits the ruins of an Air Temple, surrounded by non-white actors portraying other monks. The disparity between Aang’s casting and that of the surrounding characters underscores the film’s failure to acknowledge and respect the cultural diversity inherent in the original narrative.
Katara and Sokka, characters from the Water Tribe inspired by Inuit and Indigenous cultures, were portrayed by actors Nicola Peltz and Jackson Rathbone, who are not of Indigenous descent. This casting decision sparked considerable backlash, with critics arguing that it perpetuated the problem of whitewashing and undermined the source material’s cultural richness. The controversy surrounding “The Last Airbender” exemplifies the industry’s struggle to break free from ingrained casting practices that prioritize market appeal over authentic representation.
Introducing another example of whitewashing, “The Birth of a Nation,” directed by D.W. Griffith, utilized blackface performance to mold the viewer’s perspective, employing a mode of address structurally related to joke-work. In a pivotal scene, actor Walter Long, initially portraying Abraham Lincoln, undergoes a dramatic transformation. He later appears riding a horse in a Ku Klux Klan mask and robes while in blackface. This climactic pursuit alters the racial dynamic, shifting the conflict from a traditional white against black scenario to a portrayal of some white actors chasing others in blackface. For the 1915 audience, understanding this complex scene meant presuming that the masked Ku Klux Klan riders were “white” behind their masks, all the while trying to reconcile the fact that “white” actors played the fleeing African American characters. The audience’s suspension of disbelief, necessary to engage with the film’s depiction of racist heroism, coupled with the familiarity of blackface conventions from minstrelsy, created a nuanced and unsettling viewing experience.
According to Kant’s Categorical Imperative, the practice of whitewashing in film and television is deemed unethical. This is because Kant’s ethical principle insists on actions based on maxims that can be universally applied as if they were laws. In the context of race-based casting, whitewashing fails to meet this criterion as it perpetuates racial disparities and undermines the principles of fairness and equal representation. Whitewashing perpetuates cultural insensitivity, reinforces harmful stereotypes, and compromises the authenticity of storytelling. These consequences directly conflict with the principles of fairness and consistency advocated by Kant’s Categorical Imperative. The casting decisions in “The Last Airbender” film, exemplifying the broader industry trend, illustrate a deviation from the ethical standard proposed by Kant.
Kant’s emphasis on the universality of ethical principles aligns with the broader implications of whitewashing in the film and television industry. If the industry were to universally reject the practice of casting white actors in roles designed for underrepresented ethnicities, it would establish a precedent for equal representation, fostering a just and inclusive portrayal.
In conclusion, the application of Kant’s Categorical Imperative not only provides a critical assessment of the industry’s current practices but also advocates for a fundamental change in thinking towards ethical casting decisions. Embracing this philosophical framework is essential for promoting fairness, equality, and authentic representation in film and television, aligning with Kant’s enduring principles that transcend individual contexts. The imperative becomes a powerful call for a more inclusive and just cinematic landscape, challenging the industry to uphold universal ethical standards that truly reflect the diversity and richness of the human experience.
