You know there are fora on the internet where people will go in depth into this? Maybe you should try starting a thread in Hambil Nation or Right Thinking, because I just can't bear to watch this anymore.Jaster said:well done sull.you are the only one who has conjured up more than a paragraph unlike some other people i could mention.
however you are still wrong
Look why do you insist on trying to delude yourself that King Kong is not racist?
its called pavlovian conditioning.
blacks are being associated with bad things in the film so that when you
see a black you will think bad things about blacks.
i have more proof:-
http://stangoff.com/?p=181
i quote...
blacks are a threat whites by being portrayed as black sexual monsters who instill fears in whites...
i further quote...
King Kong and the White Woman
Filed under: General, Gender, Race & Nation
By Stan at 4:16 am, 9/1/05
King Kong and the White Woman: Hustler Magazine and the Demonization of Black Masculinity
Published in Journal of Violence Against Women, 1998, Vol. 4 No 3, (291-307)
by Gail Dines
From the box office success of The Birth of a Nation in 1915 to the national obsession with O.J. Simpson, the image of the black male as the spoiler of white womanhood has been a staple of media representation in this country. The demonization by the media of black men as rapists and murderers has been well documented by scholars interested in film (Carby, 1993; Guerrero, 1993; Mercer, 1994; Snead, 1994; Wiegman, 1993; Winston, 1982), news (Entman, 1990; Gray, 1989) and rap music (Dyson, 1993; Rose, 1994th........e ck men as outside the “normal†realm of (white) masculinity by constructing them as “other†(Wiegman, 1993). Although both the “Uncle Tom†and the sexual monster continue to define the limits of black male representation in mainstream media, it is the latter image which dominates, and, according to Mercer (1994), serves to legitimize racist practices such as mass incarceration of black men, police brutality and right-wing government policy.
Recently, scholars have turned their attention to pornography (Cowan & Campbell, 1994; Forna, 1992; Mayall amd Russell, 1993; Mercer, 1994) and............. black male body, especially the penis, as dangerous and a threat to white male power............
Of the hundreds of mass-produced, mass-distributed pornography magazines the three best sellers are Playboy, Penthouse and Hustler (Osanka, 1989). While these three magazines are often lumped together they differ marked............. editorials, constructs a world populated by working-class whites who live in trailer homes, eat in fast-food restaurants and wear ill-fitting clothes. While blacks are absent from most sections of the magazine, they appear regularly in caricatured form in the cartoons where they are depicted as competing with white men for the few sexually available white women. Hustler cartoons depict a world filled with seething racial tensions brought about by the black male’s alleged insatiable appetite for white women. The competition between black and white men and the ultimate victory of the black male is the source of much “humor†in Hustler c.........., what happens if black masculinity is allowed to go uncontained. ....... myth where black masculinity, having been allowed to run amok because of liberal policies, has finally rendered white men impotent, both sexually and economically.
From “The Birth of A Nation†to “Black Studsâ€
Theorists such as Wiegman (1993) and Snead (1994) have traced the beginnings of the image of the black man as sexual monster back to the late nineteenth century, as the product of a white supremacist ideology which saw the end of slavery as bringing about an unleashing of animalistic, brute violence inherent in African-American men. D.W. Griffith’s The Birth of a Nation (1915), was, without question, the first major mass circulation of this image in film and was to become the blueprint for how contemporary mass media depicts black males.
The notion of the black male as sexual monster has been linked to the economic vulnerability that white working-class men feel in the face of a capitalist economy over which they have little power. Guerrero (1993), in his discussion of the emergence of this new stereotype in the novels of Thomas Dixon, suggests ........... depreciated sense of manhood by taking up the honorific task of protecting White Womanhood against the newly constructed specter of the “brute Negro†(p. 12).
This encoding of the economic threat within a sexual context, is, according to Snead (1994), the principal mechanism of cinematic racism and is one of the subplots of the enormously successful King Kong movie (re-named King Kong and the White Women in Germany). Arguing that “in all Hollywood film portrayals of blacks … the political is never far from the sexual†Snead links the image of King-Kong rampaging through the streets of Manhattan with a defenseless white woman clutched to his body to the increasing economic emasculation of white men in the Depression years and the growing fear that black migration from the South had reduced the number of jobs available to working-class whites. King Kong’s death at the end of the movie remasculinizes the white man, not only by his conquering of the black menace but also by regaining the woman. In this way, representations of black men and white men are not isolated images working independently but rather “correlate … in a larger scheme of semiotic valuation†(Snead, 1994: 4). Thus, the image of the black male as sexual savage serves to construct white male sexuality as the protector of white womanhood, as contained and, importantly, as capable of intimacy and humanity.
In her analysis of black and white masculinity in Hollywood movies, Jones (1993), argues that although black and white actors are increasingly portrayed in terms of a violent masculinity, for white actors this violence is tempered by his sexually intimate scenes with a white woman. These scenes assures the audience that for all his violence, the white male is still capable of bonding with another human being and of forming relationships. For black actors, however, this humanizing quality is absent and thus he can only be defined in terms of his violence. The problem with these types of representations is that, according to Jones, “they suggest that there are fundamental differences in the sexual behavior of black males and white males and are ultimately indicative of the psychic inferiority of the black male†(1993: 250), and the superiority of white masculinity.
Hard-core pornography similarly depicts black men as more sexually dehumanized than white men. ....... (Cowan & Campbell, 1994; Mayall amd Russell, 1993), have found that it is black male characters who are granted the least humanity and are most lacking in ability to be intimate. Moreover, in movies and magazines which feature black men, the focus of the camera and plot is often the size of his penis and his alleged insatiable sexual appetite for white women. Movies with titles such as Big Bad Black Dicks, Black Stallions on Top, Black PricksWhite Pussy, and Black Studs, draw attention to the black male body and in particular the penis, a rare occurrence in pornography targeted at heterosexual men. Movies such as The Adventures of Mr. Tootsie Pole (Bo Entertainment Groups) feature a black male and white female on the cover. The text beneath the picture says “he’s puttin his prodigious pole to the test in tight white pussy.†In Black Studs (Glitz Entertainment), three white women are shown having sex with three Black men. Above the pictures, the text reads, “These girls can’t get enough of that long black dick.†The penis becomes the defining feature of the black man and his wholeness as a human being is thus rendered invisible.
....abuse of white women by black men began appearing in the late 1970s and by the mid-1980s, Hustler was running an average of 2-3 such cartoons an issue. Hustler was by no means the first to produce such as image but it is probably the first mass-distributed cultural product (albeit in caricatured form) to visually depict an enormous black penis actually doing severe physical damage to the vagina of a small white women.....
READ THE WHOLE ARTICLE.
at:-
http://stangoff.com/?p=181
SEE?
THIS SCHOLARLY ARTICLE VINDICATES MY EVIDENCE BASED PROPOSTION.
That King Kong is designed to promote race hatred and devision to increase racial tensions to profit those who benefit from these tensions and hatred....
Peter Jackson must be racist and even in the Lord of the Rings all evil was portrayed as black while whites and blondes were all good.
We wonder why Peter Jackson is such....
Troll Kingdom
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I SAW KING KONG - I WAS SHOCKED
- Thread starter Jaster
- Start date
Look chisslet i posted references which proved me right.
yet you ignore those and accuse me of egotism.
WHEN YOU GO TO A BLACK FAMILY HOUSE ARE YOU REALLY GREETED LIKE THAT?
I ASK YOU.
as in the Skull Island encounter?
Just look at it again.
i mean that hideous face paint...
THE MOST GOD DAMNED AWFUL SCREACHING AND SCREAMING AND HOWLING...
THE BANGING OF DRUMS...
SPEARS BEING WAVED IN A THREATENING MANNER...
BANSHEE HOWELS...
THREATENING GESTURES....
DO I NEED TO GO ON?
THE SCENE WAS SO EMBARESSING I HAD TO AVERT MY GAZE AFTER A WHILE.
Your pathetic excuse is that because its a remake of the 1933 film thats its racism is acceptable.
next you will be saying slavery is acceptable...lets bring it back..
I AM SO ANGERY AND ENRAGED AT YOUR ACCUSATIONS.
yet you ignore those and accuse me of egotism.
WHEN YOU GO TO A BLACK FAMILY HOUSE ARE YOU REALLY GREETED LIKE THAT?
I ASK YOU.
as in the Skull Island encounter?
Just look at it again.
i mean that hideous face paint...
THE MOST GOD DAMNED AWFUL SCREACHING AND SCREAMING AND HOWLING...
THE BANGING OF DRUMS...
SPEARS BEING WAVED IN A THREATENING MANNER...
BANSHEE HOWELS...
THREATENING GESTURES....
DO I NEED TO GO ON?
THE SCENE WAS SO EMBARESSING I HAD TO AVERT MY GAZE AFTER A WHILE.
Your pathetic excuse is that because its a remake of the 1933 film thats its racism is acceptable.
next you will be saying slavery is acceptable...lets bring it back..
I AM SO ANGERY AND ENRAGED AT YOUR ACCUSATIONS.
Zodiac said:
our quote just proves me right.
But i differ when you say that when you see a gorilla you see a monkey as due to the vast amount of programming you have received from all the sources around you since birth
would automatically associate a gorilla with a black person and a black person ith a gorilla or rather monkey as this automatically provides an ego boost and reinforces your innate superiority complex.Now because you are getting a boost it becomes addictive just like cocaine or heroine and you would never give it up voluntarily.
For example in schools its commonplace for our white children to make monkey noises at blacks and throw bananas at them.
In adult games in football black players again suffer this racial abuse as monkey noises are made at them and bananas are thrown at them.This conditioning comes from racial stereotyping which films like King Kong promote very strongly.
Have you studied pavlovs expeiments with dogs?
do you know what the significance of those experiments were?