race/ethnicity

If you are alive these days, and not already part of the undead masses yourself, you probably have noticed a staggering increase of zombie references in film, television, pop culture, videogames and the internet.

For instance, the big screen and small screen have both hosted a plethora of zombie films, e.g., 28 Days Later (2002), Shaun of the Dead (2004), and I Am Legend (2007). On television, we have seen the recent success of AMC’s The Walking Dead. And if you are on a college campus, you have probably seen undergraduates playing “Zombies Vs. Humans,” a game of tag in which “human” players must defend against the horde of “zombie” players by “stunning” them with Nerf weapons and tube socks. In videogames, we have seen the success of the Resident Evil franchise, Left 4 Dead, and Dead Rising. Finally, the internet is awash with zombie culture. From viral videos of penitentiary inmates dancing to Michael Jackson’s “Thriller,” to post-apocalyptic zombie societies, fansites, and blogs.

But what is the zombie and where does it come from?

What makes the zombie unique from other movie monsters is its unique place of origin. Whereas Frankenstein, Dracula, and the Wolfman all have ties to the Gothic literary tradition, the zombie stands apart in having a relatively recent (and proximal) origin. Theorists of zombie culture (such as Kyle Bishop or Jamie Russell), attribute the origin of the zombie to Haitian folklore and the hybrid religion of voodoo. But the zombie didn’t make its away into American culture until the 1920s and 30s, when sensationalist travel narratives were popular with Western readers. Specifically, W.B. Seabrook’s book The Magic Island, is often credited as the first popular text to describe the Haitian zombie. Additionally, the work of Zora Neale Hurston (specifically her 1937 book Tell My Horse) explores the folklore surrounding the zombie in Haitian mythology.

(Still from I Walked with a Zombie, 1943)

With the development of the motion picture, the zombie became a staple of horror, and a popular movie monster. The zombies of White Zombie (1932), Revolt of the Zombies (1936), King of the Zombies (1941), and I Walked with a Zombie (1943), however, were not the cannibalistic creatures we now know. These zombies were people put under a spell, the spell of voodoo and mystical tradition. In these films, the true terror is not be being killed by zombies, but of becoming a zombie oneself.

Bela Lugosi as ‘Murder’ Legendre, the mad scientist and his zombie slave:

What all these films have in common is their depiction of Voodoo and Haitian culture more generally as dangerous, menacing, and superstitious. Those who study colonial history note that the messages contained in these films present stereotyped versions of Haitian culture aimed largely at satisfying a predominantly white audience. Many of these films also contain an all white cast, with several members in blackface serving as comedic relief for the more “serious” scenes.

It’s interesting to see how the zombie has morphed into the cannibalistic creatures we now know. While the original zombie is a powerful metaphor for fears of the non-white Other and reverse colonization, the contemporary zombie largely reflects contemporary fears of loss of individuality, the excesses of consumer capitalism, environmental degradation, the excesses of science and technology, and fears of global terrorism (especially more recent renditions of the zombie post-9/11).

For instance, George A. Romero’s famous Night of the Living Dead (1968), the first film to feature the flesh-eating zombie, is often remarked as a not-so-subtle allegory to the Civil Rights Era and the militant violence perpetuated by Southern states against the Black protestors, as well as a critique of the Vietnam War. Romero himself has stated that he wanted to draw attention to the war through the images of violence contained in the film.

Cannibal zombies in Night of the Living Dead (1968):

Similarly, the Italian zombie horror film Let Sleeping Corpses Lie (1974) reflects fears of environmental degradation and pollution. In this film, the zombie epidemic is caused by an experimental pest-control machine, which sends radio waves into the ground. Although it solves the local pest problem for farmers, it also reanimates the dead in a nearby cemetery.

Zombie consumers in Romero’s second zombie flick Dawn of the Dead (1978):

Later zombies are used to symbolize the excesses of capitalism and militarism, respectively.  For example, in 28 Weeks Later (2007), we see the decay of social structures across the globe, as institutions that are supposed to protect us inevitably fail to do their job.  In this scene, protagonists attempt to escape the city just before the military firebombs it:

As we can see, the zombie has a unique cultural history and serves as a powerful metaphor for social anxieties. This movie monster might have come out of the Caribbean, but it became a powerful representation of modern fears when it met the silver screen. Perhaps the current failure of global social structures (global terrorism, environmental catastrophes, and the current economic downturn) has prompted the most recent “Zombie Renaissance.” Or maybe we are just gluttons for the “everyman” tales contained in each rendition of the zombie apocalypse, a point made by SocProf several months back. I do not know what the future holds, but one thing is certain: the zombie will continue to haunt us from beyond the grave.

David Paul Strohecker is getting his PhD in Sociology at the University of Maryland. He studies cultural sociology, theory, and intersectionality. He is currently working on a larger project about the cultural history of the zombie in film.

Valentine’s Day cards reflect the cultural context at the time and, in times of racism, cards punned and joked with racial stereotypes.  We’ve collected examples featuring American Indians and Asians, here’s our selection of racist cards with Africans and African Americans.  Trigger warning for grotesque caricature and violence.

Cards via Hearts Atwirl and Buzzfeed.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

We previously posted a series of Valentine’s Day cards featuring Native Americans. They aren’t the only racial group to be caricatured in cards, though. Carrie S. sent in this vintage Valentine, found at Adventures of Accordion Guy in the 21st Century, that presents a stereotyped Asian character (doing laundry even!), complete with mangled English:

I was able to locate more Asian-themed racist vintage Valentine’s Day cards at Buzzfeed:

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Via Native Appropriations, I found a set of vintage Valentines drawing on stereotypes of American Indians at the Vintage Valentine Museum.

“I’d never squaw’k if you’d be my Valentine” (1950s or ’60s):

“I want to be the CHIEF” (1940s or ’50s):

“I’m a straightshoooter Valentine. May I be your BOW” (1930s):

“I’m hunting for you, Valentine” (1941):

“Ugh! Ugh! I’m an INDIAN GIVER. It’s time you should learn it. For I won’t give my love, unless you’ll RETURN it!” (1940s):

“Ugh! Ugh!  Give me your heart Valentine!”:

“You heap fine Valentine AND HOW!” (1950s or ’60s):

“I’m sending this ARROW CHEIFLY to say, let me be your “beau” (1930s or ’40s):

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

I was walking through the University bookstore today to pick up beginning of the semester office supplies, when this book, Grammar Sucks: What to Do to Make Your Writing Much More Better, caught my eye:

Back cover text:

Do you suffer from grammar phobia because…

• You’re so used to IMing, you’ve forgotten how to write a normal sentence. :- )
• You’ve started thinking in rap lyrics.
• Last time you gave a report, your handout got you laughed out of the room.

What made this book seem blog-worthy to me is the not-so-subtle coded language used to refer to those speakers who the book cover authors (maybe not the book authors) feel are culpable for the degradation of language.  I want to consider the second point specifically: “…thinking in rap lyrics.”

Ok, of course not all rappers are black, but it is an art form that is so solidly identified with the African American community.. And, of course, they’re not really talking about “rap lyrics,” they’re talking about AAVE (African American Vernacular English). This is an offensive and transparently coded throwback to the linguistic inferiority of African Americans.

AAVE is a dialect of English just like all dialects, and has a fully articulated syntax, morphology and phonology. It is NOT a broken or mislearned form of the dominant dialect. And people certainly don’t speak AAVE because they failed to learn arbitrary writing conventions in school (e.g. “Don’t start a sentence with a conjunction”) , which appear to be the topic of this book.

But, let’s take them at their word. Maybe you have grammar phobia because you’re thinking in rap lyrics. Do you mean, like, you’re freestyling in your head all the time? Do you mean you’re kind of like this guy?

You mean, all your thoughts have flow, and rhyme, are creative, and drop properly formed Spanish imperative verbs? To the book cover authors: you fucking wish. I mean, I wish I could do that.

In the context of the book, it makes a clear point: If you are young, and black (and your hat’s real low), you’re not worthy of social respect, or economic achievement.

Needless to say, I went on to go buy my office supplies, and didn’t read the body of the book. I can’t really tell you if it gave any good advice that made any sense. This book is just another case where supposed discussion of language isn’t really about language. It actually ties in nicely with my previous post on how people discuss language in terms of morality. Here, the book cover authors are laying blame on the same groups of people that are accused of leading moral decay: youth, and racial and ethnic minorities.

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Josef Fruehwald is a graduate student in Linguistics at the University of Pennsylvania. His research focuses on theoretical models of language variation and change. He frequently blogs about the relevance of linguistic research to language attitudes (among other things) at Val Systems.

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We’ve discussed American Indian mascots, advertising featuring anachronistic caricatures of American Indians, the ice skater who appropriated aboriginal culture, the lie at the heart of the famous crying Indian PSA, and the stunning irony that is Avatar, but we’ve never directly addressed the use and appropriation of the idea of the Eskimo.  The term refers to the Inuit and Yupik people in Eastern Russia, Alaska, Canada, and Greenland.

Russell Potter, a professor of English at Rhode Island College, collected a few vintage advertisements featuring the idea of the Eskimo.  He argues that they fall roughly into two camps: cheerful adorable Eskimo and the Eskimo as primitive and backwards.

These first two for apples and ginger ale fall into the first category:

But this ad presents the “Esquimaux” as “dull” and Grape Nuts as civilized:

Building on Potter’s collection, Adrienne at Native Appropriations posted some more contemporary uses of the Eskimo.

Eskimo Joe’s (Stillwater, OK) uses an image of an Eskimo looking downright ridiculous and very much like his dog:

Any child of the ’80s probably remembers the Lisa Frank Eskimo girl (which Adrienne points out looks decidely anglo):

And this ad seems to suggest that even decapitated walruses speak better English than Eskimos:

Here’s another example of the childlike Eskimo, tweeted to us by @Matthew_Kneale:

All of these ads turn Eskimos into (cute but inferior) childlike figures or (deficient and inferior) backwards adults, or some combination of the two.  For a population with essentially no contact with the Inuit or the Yupik, the idea that they are real human beings can become lost.  When real members of a group are invisible, imaginary representatives can be demonized or romanticized as we see fit.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

On January 30th a video was uploaded to youtube featuring among the most blatantly racist banter I have ever heard on or off screen.   The conversation occurred among the hosts of a BBC program called Top Gear: Jeremy Clarkson, Richard Hammond, and James May.  They discuss a new sports car made in Mexico and the racist “hilarity” ensues.  It is pretty damn horrible… and it goes on and on… so, trigger warning.

There’s a full transcript after the jump, but here are some high points:

They say the car is like the Mexican people: “lazy, feckless, flatulent, [indecipherable] leaning against a fence asleep”

They call Mexican food “sick with cheese on it.”

Hammond says, “Just imagine waking up and remembering that you’re Mexican.” Everyone laughs. Clarkson replies, “It’d be brilliant because you could just go back to sleep again.”

Hammond is the ring leader in this example, but Clarkson appears to make a habit of racist commentary. Here’s just a sampling from Wikipedia:

In October 1998 Hyundai complained to the BBC about what they described as “bigoted and racist” comments he made at the Birmingham Motor Show, where he was reported as saying that the people working on the Hyundai stand had “eaten a dog” and that the designer of the Hyundai XG had probably eaten a spaniel for his lunch…

In April 2007 he was criticised in the Malaysian parliament for having described one of their cars, the Perodua Kelisa, as the worst in the world, built “in jungles by people who wear leaves for shoes”…

This clip reminds us that there are still people out there who will make race-based attacks and plenty of people, note the audience, who will laugh.  Many white people truly do oppose racism and they want people of color to trust them; they want the benefit of the doubt.  But occasional exposure to people like this, even if just on television, and the ongoing daily experience of prejudice, some mild, some severe, plus the hundreds of things that happen every week that may have been racism or may have been somebody having a bad day, add up.  This makes it very scary to trust white people.  Every “benefit of the doubt” has the potential to backfire.

Given the daily experience of race that most people of color must endure, blind trust is too much to ask for.

(Transcript after the jump, borrowed from Racialicious.)

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Malia Green, taking a writing diagnostic test while enrolled in Junior College, came across the following question:

The question was part of Pearson’s MyWritingLab, self-described as “a complete online learning program [that] provides better practice exercises to developing writers.”

I have heard rumor that young people have been adopting shorthand tweet-type language as “standard English,” using it in communications with professors and in their academic papers.  The inclusion of this question in Pearson’s test suggests that this may, indeed, be a widespread phenomenon and that young adults may not necessarily know the difference between the English most of their parents grew up with and the English they have encountered in this brave new world.

Despite the fact that each of the answers will make sense to anyone familiar with text-ese, the correct answer on the Pearon’s test is clearly d).  So, are the answers a) through c) actually wrong?  Who gets to decide what “standard English” is anyway?

The whole thing reminds me of the controversies over African American Vernacular English, better known as “ebonics,” in the 1990s.  The idea that some people “talk right” and some people do not is an excellent way to justify prejudice.  Perhaps an employer largely chooses not to hire black people, not because they’re black, of course, but because they don’t “talk right.”  Is the outcome significantly different?  And who decides what “talking right” sounds like anyway? Well, the people who have the power to do so… and they typically side with themselves.

So, is text-ese wrong?  Only according to those who are making the rules (and Pearson’s tests).  And what do you want to bet that those young people who are taught to differentiate between the kind of English they are allowed to use in texts and the kind they are allowed to use in “proper” communication are class privileged, on average?  And disproportionately white, accordingly?

So, who decides the future of English?  And will “2” and “u” be words in it, or not?

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.