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Skeeter, who has also been raised by a Black nanny. During the movie, Skeeter convinces several Black maids to share their stories and grievances, which causes an uproar. The movie came under criticism for several reasons. One being that both the novel and film were written and executed by white people, whose portrayals of Black maids were derived from the limited perspectives of people who did not share the life experiences of the people being depicted. The
Association of Black Historians released a statement saying, "The Help distorts, ignores and trivializes the experiences of black domestic workers." When asked about her role in the movie, Viola Davis expressed her concern with playing the role because of the stereotype. However, she argued that the mammy remains a caricature because she is never humanized in the writings or portrayals. Davis' mother and grandmother also worked as maids, so she was familiar with the experience and lives of black women within domestic work. Davis also challenged filmmakers to explore the lives of these women outside of the kitchen and to not limit their identity to that of maids.
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inequality – and are class specific. Working class Black women are depicted as the “Bad Black Mother”/”Welfare Queen” and the “Bitch” (materialistic and hyper sexual Black women within “hip-hop” culture), Middle class Black women are depicted as “Black Ladies” with allegedly un-restrainable sexual desire, and an educated Black woman is often depicted as an “Educated Black Bitch” who is portrayed as manipulative and controlling. Black women in positions of power are often seen as the “Modern-day Mammy”, now which refers to a well-educated and successful Black woman within the upper/upper middle class who “uphold white-dominated structures, institutions, or bosses at the expense of personal .” This is a derivative of the original “Mammy” stereotype in which the Black woman was not only subservient but often happy to serve her white master.
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693:, who later left the series due to not wanting to portray the mammy stereotype any longer. McDaniel took over the role for the second season, filming a total of six episodes before becoming ill. McDaniel has been noted to have chosen to play these mammy roles time and time again as they were the only accessible roles for black actress during this time. Similar to how she was given the role on the radio, McDaniel was the epitome of what a mammy looked like as well as being big in size, large mouth, and dark skin that contrasts from white teeth and big eyes. The role on television was also portrayed by
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773:. In an episode titled "Mammy Dearest", the mammy stereotype was discussed. The episode centered on an exhibition planned by the character Whitley Gilbert. In the exhibition, Gilbert included images of a "mammy". The character of Charnele Brown is upset and wants it removed from the exhibition. Gilbert and others argue that they must reclaim the image and separate it from its racist history. Later in the episode Brown reveals a childhood story in which she dressed up a Nubian princess for a costume contest at school. When she won, she was referred to as "
551:. In the movie Martin Lawrence plays an FBI agent, Malcolm Turner, who goes undercover as "Big Momma" Hattie Mae Pierce, who exhibits the stereotypical mannerisms and appearance of a mammy caricature. The character of Big Momma is a plus-size older black matriarch and homemaker with overtly religious beliefs and a nurturing demeanor. Another mammy stereotype that the movie displays is the one of midwifery and domestic work. This originates from the history of older Black women serving as midwives on plantations.
342:(2008): A large dark body, a round smiling face, a deeply sonorous and effortlessly soothing voice, a raucous laugh. Her personal attributes include infinite patience, self-deprecating wit, an implicit understanding and acceptance of her own inferiority, and her devotion to whites. The mammy was also large-breasted, desexualized, and potentially hostile towards black men. Many of these characteristics were denied to African-American female slaves but were generally attributed to the mammy.
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owner's family, thus relieving the mistress of the house of all the drudgery work that is associated with child care. When the children have grown up and were able to take care of themselves properly, the mammy's main role is to help the mistress with household tasks. As her years of service with the family increase, the mammy's sphere of influence increases as well. She is next to the mistress in authority and has the ability to give orders to everybody in the house.
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dolls had similar effects as the false representations created by minstrel shows. These figurines often had exaggerated features and tried to falsely portray
African Americans as "docile, dumb and animated". Despite their racist meaning, these items have been passed down and seen as memorabilia. Although these mammy dolls and ceramics dehumanize Black people, some of them are still valued and sold for hundreds of dollars.
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care for the owner's children. In many cases mammies choose to even have their own children taken away because they need to be able to fully provide nutrition to their owner's children, and there is a fear that if they are feeding their own children as well there may not be enough milk for the owner's children.
697:. Aside from the actress that portrayed her, Beulah, as a character, had all the characteristics of a mammy. She always made sure her "family", the family she worked for, was well taken care of. Helping them at any cost and putting their needs above her own can be seen in multiple episodes of the show. The
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Mammy imagery can be found in the form of several objects including dolls, ceramics, cookie jars, salt and pepper shakers, and other household items. The mammy caricature was part of post Civil War propaganda that spread negative and false stereotypes about
African Americans. These mammy ceramics and
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to them, such as addressing the elders on the plantation as "aunt" or "uncle", as well as what was best to say on a particular occasion and what was not. The mammy is able to discipline her charges whenever they do something undesirable, and is able to retain their respect towards her, even after the
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The mammy is often considered to be part of the slaveholding family as much as its blood members were considered. Although she is considered of a lower status, she is still included in the inner circle. She has often been referred to as a "unique type of foster motherhood". Aside from just tending to
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slave-holding households. The mammy caricature was used to create a narrative of black women being happy within slavery or within a role of servitude. The mammy stereotype associates black women with domestic roles and it has been argued that it, combined with segregation and discrimination, limited
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When other contemporary mammies emerged, they usually retained their occupation as domestic workers and exhibited these physical feature changes; however, their emotional qualities remained the same. These contemporary mammies continued to be quick-witted and remained highly opinionated. A new twist
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that was founded in 1940. The building is shaped like a mammy caricature along with a head-wrap and long red skirt. Similar to Aunt Jemima, Mammy's
Cupboard uses the imagery and the stereotype of Black women to promote a business. The restaurant's use of a mammy caricature to portray Black servitude
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in 1939. In 1940, shortly after the win, the NAACP scrutinized McDaniel's role, and criticized
Hollywood for the lack of diverse Black roles and characters outside of servitude. McDaniel responded to backlash by saying, "Why should I complain about making $ 7,000 playing a maid? If I didn't, I'd be
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The fictional role of the mammy in plantation households grows out of the roles of enslaved
African-Americans on the plantation. African-American slaves played vital roles in the plantation household. For the mammy, the majority of these duties generally are related to caring for the children of the
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Although her duties are far less tiring and strenuous than those of the other slaves, her hours are often long, leaving little time for her own leisure. Not until the mammy becomes too old for these duties does she enjoy any home life of her own, since she is always preoccupied with the home life of
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The dress often reflects the status of her owner. The mammy is usually neat and clean and wears attire that is suitable for her domestic duties. Sometimes a mammy considers herself to be dressed up, but that is usually just an addition of a bonnet and a silk velvet mantle, which probably belonged to
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to white authority. On occasion, the mammy is also depicted as a sassy woman. She is devoted to her owners/employers and her primary goal in life is to care for their needs. In some portrayals, the mammy has a family of her own. But her caregiving duties always come first, leading to the mammy being
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The mammy, unlike other slaves, is usually not up for sale, and the children of the mammy are kept in the same family for as long as possible, retaining the same relationships that the mammy has with the owner. There are oftentimes when a mammy is forced to leave her own children behind in order to
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When the mammy does not stay in the house of her owner or is not busy attending to the needs of the owner's children, she usually lives with her husband and children in a cabin that is distinguished from the cabins of the other enslaved people in either size or structure. Her cabin stands near the
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Nowadays, stereotypical or controlling images of Black women reflect the economic, legal, and social changes that have occurred to Black people over the past 50-60 years. The images are also reflective of a society as a whole – a global economy, unprecedented media reach and transitional racial
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about Black maids of white families in
Jackson, Mississippi during the 1960s. The novel and film center around the experience of Black domestic workers, influenced by the writer and director both having Black nannies growing up. The story is positive from the perspective of the main character
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was given the role on the radio version in 1947, as she was famous for her multiple other award-winning performances portraying the mammy stereotype. The radio show was taken to television in the early 1950s and went on to run for three seasons. The first of season of the show starred
316:(2011) by summarizing that "Mammy was not a protector or defender of black children or communities. She represented a maternal ideal, but not in caring for her own children. Her love, doting, advice, correction, and supervision were reserved exclusively for white women and children."
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The stereotypical mammy is often illiterate, though intelligent in her own way. However, as intelligent as she is, most of her intelligence is a result of past experiences and conflicts. In particular, a mammy of an aristocratic family can be identified by her air of refinement.
182:. The proposed statue would have been dedicated to "The Black Mammy of the South". The bill received a standing ovation in the Senate, where it passed with bipartisan consensus, but died in committee in the House following written protests from thousands of black women.
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Over time, the image of the mammy was given a contemporary makeover. Some of the more contemporary features that the mammy received were that her head rag was removed and she became smaller, as well as lighter in complexion. In addition, her owner was not always white.
377:, even though there is a possibility that she can perform either of these tasks. In some of the wealthier households, the fictional mammy has assistants who would help her take care of the household's children. These women are often much younger than the mammy herself.
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depicting black women, usually enslaved, who did domestic work, including nursing children. The fictionalized mammy character is often visualized as a dark-skinned woman with a motherly personality. The origin of the mammy figure stereotype is rooted in the history of
448:(the 1950s). One of the founders of Aunt Jemima came up with the name and branding after hearing a minstrel song called "Old Aunt Jemima". Subsequently, other companies who profited from using images of black caricatures received criticism as well.
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came under criticism for its branding after receiving public criticism about the company using a mammy caricature as its logo. The character of Aunt Jemima was not a real person and was portrayed by several people, beginning with freed slave
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has led to the mammy figure being less prevalent in the 21st-century culture, but the mammy archetype still influences the portrayal of
African-American women in fiction, as good caretakers, nurturing, selfless, strong, and supportive, the
210:, which reimagined the powerless, coerced slave girls as soothing, comfortable, and consenting women. This contradicts other historically accurate accounts of enslaved women fearing for their lives at the hands of abusive masters. In 1981,
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The mammy caricature was first seen in the 1830s in antebellum proslavery literature as a way to oppose the description of slavery given by abolitionists. One of the earliest fictionalized versions of the mammy figure is Aunt Chloe in
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was made, where Rolle's character became the center of the series; the show focused on her family, which lived generally happy lives in a low-income housing project. Other television series that featured mammies as characters include
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did not become common in US household until around the mid to late 1940s, making radio shows popular forms of entertainment for the
American family. In 1939, Beulah Brown debuted as a character on the radio show
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Mauma Mollie. She died in the 1850s at her master's family home in
Florida. A family member described her as nursing "nearly all of the children in the family" and said that they loved her as a "second
684:. The character was well taken to and added to several other radio shows. Over time, the creators and producers of these shows wanted to have an actual Black woman as the voice of the character.
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named "Ask Aunt Ada". Black women were often the faces of these food or housekeeping columns because of the stereotypes like the mammy which associated them with servant and domestic roles.
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Some of the contemporary media portrayals of the mammy caricature have been acted out by black men (Henson, 2013). A contemporary portrayal of the mammy caricature is seen in the film
464:, the owners of the Aunt Jemima brand, decided to rebrand it as The Pearl Milling Company and changed its logo from the mammy caricature to an image of a traditional milling building.
237:(2008), Kimberly Wallace-Sanders argued that the mammy's stereotypical attributes point to the source of her inspiration: "a long lasting and troubled marriage of racial and gender
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portrayed as a neglectful parent or grandparent. And while the mammy is devoted to her white family, she often treats her own family poorly. Moreover, she has no black friends.
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was a mammy caricature who was the stereotypical good southern cook who spoke in a broken and exaggerated dialect. The alias of Aunt Priscilla was actually a white woman named
1472:"African American Midwifery in the South: Dialogues of Birth, Race, and Memory. By Gertrude Jacinta Fraser (Cambridge, Mass. Harvard University Press, 1998) 287 pp. $ 39.95"
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households. Their duties included preparing meals, cleaning homes, and nursing and rearing their owners' children. Out of these circumstances arose the image of the mammy.
926:"Melanie Klein and the Black Mammy: An Exploration of the Influence of the Mammy Stereotype on Klein's Maternal and Its Contribution to the "Whiteness" of Psychoanalysis"
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Images such as Aunt Jemima and Aunt Priscilla were mammy caricatures that created a negative and limiting representation as servant roles for white families.
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and racial oppression. The mammy image became especially prominent in the era of racial segregation, and reproductions of it persisted into the 21st century.
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The mammy caricature has been used as advertisements for corporations, especially within the food industry. In 2020, the brand
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Henson, Ukiya C. “THE MAMMY RELOADED: African American Men Portraying The Updated Caricature In Contemporary Films.” (2013).
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her owner. There is a flexibility about the mammy's duties that distinguishes her from just being an ordinary nurse or a
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of the mammy figure is questionable. Historical accounts point to the identity of most female domestic servants as
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Big Momma's House. Film. Directed by Raja Gosnell. Beverly Hills, CA: 20th Century Fox Home Entertainment, 2000.
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figure, "devoid of any personal desires that might tempt her to sin". This helps the mammy serve as both a
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The romanticized mammy image survives in the popular imagination of the modern United States. Psychologist
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Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films
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1622:"Mammies and Matriarchs: Tracing Images of the Black Female in Popular Culture 1950s to Present"
327:. The mammy is occasionally depicted as a religious woman. More often than not, the mammy is an
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Parkhurst, Jessie W. (July 1938). "The Role of the Black Mammy in the Plantation Household".
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From Mammy to Miss America and Beyond: Cultural Images and the Shaping of US Social Policy
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From Mammy to Miss America and Beyond: Cultural Images and the Shaping of US Social Policy
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While originating in the slavery period, the mammy figure rose to prominence during the
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Camacho, Roseanne V., "Race, Region, and Gender in a Reassessment of Lillian Smith."
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Ceramic Uncles & Celluloid Mammies: Black Images and Their Influence on Culture
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Parkhurst, Jessie W., "The Role of the Black Mammy in the Plantation Household",
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the needs of the children, the mammy is also responsible for teaching the proper
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owner's house, but at a distance from the cabins of the other enslaved people.
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Musser, Amber Jamilla (2018-07-03). "Mammy's Milk and Absent Black Children".
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1889:". Jim Crow Museum of Racist Memorabilia. Ferris State University, Michigan.
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Racial Innocence: Performing American Childhood from Slavery to Civil Rights
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describes the relationship between the mammy and other African Americans in
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In the early 20th century, the mammy character was common in many films.
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and a moral guide to her young charges, capable of keeping them in line.
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Kimberly Wallace-Sanders includes other characteristics of the mammy in
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is reminiscent of how it was portrayed in the Old South. The character
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Thurber, Cheryl, "The Development of the Mammy Image and Mythology."
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series, alongside other mythological and folklore characters such as
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Sister citizen : shame, stereotypes, and Black women in America
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Some contemporary television sitcoms which featured mammies include
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has argued that the mammy was a creation of the imagination of the
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in the outlook of the contemporary mammy occurred in the sitcom
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In Natchez, Mississippi, there is a roadside restaurant called
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Some scholars see the mammy figure as rooted in the history of
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Icons of African American Literature: The Black Literary World
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Sister Citizen: Shame, Stereotypes, and Black Women in America
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https://shadesofnoir.org.uk/a-different-world-mammy-dearest/
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651:. This character was sold as a doll and featured in books.
1103:. Ann Arbor: University of Michigan Press. pp. 3, 6.
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are some of the companies that were spotlighted. In 2021,
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Too Heavy a Yoke: Black Women and the Burden of Strength
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Jewell, K. Sue; Staff, Jewell K. S. (January 21, 1993).
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The Plantation Mistress: Woman's World in the Old South
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efforts to reinterpret and legitimize their legacy of
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Mammy: A Century of Race, Gender, and Southern Memory
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Mammy. A Century of Race, Gender, and Southern Memory
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Mammy: A Century of Race, Gender, and Southern Memory
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from 1893 to 1923, and followed by others including
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1830:. New York: W.W. Norton, 1949. p. 123-4.
83:job opportunities for black women during the
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1910:Wallace-Sanders, Kimberly (June 15, 2009).
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1800:Southern Women: Histories and Identities
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2001:
1945:
1795:(New York: Continuum, 1973/1994), 57.
1776:
1701:Page, Yolanda Williams (2011-10-31).
1541:
923:
625:Jim Crow Museum of Racist Memorabilia
610:
289:The mammy is usually portrayed as an
117:women were tasked with the duties of
1971:
1727:Favour, Jonathan (October 1, 2020).
1700:
1476:Journal of Interdisciplinary History
363:
18:Mammy archetype in the United States
1853:"Jezebels, Mammies, and Matriarchs"
1844:(New York: Anchor Books, 1994), 44.
1626:Journal of African American Studies
831:
753:, where Florence, a maid played by
527:with her performance as "Mammy" in
319:This stereotype contrasts with the
176:United Daughters of the Confederacy
24:
3441:Stereotypes of working-class women
1729:"A Different World: Mammy Dearest"
1620:Sewell, Christopher J. P. (2013).
1397:Johnston, Pamela (June 12, 2020).
1258:
1099:Wallace-Sanders, Kimberly (2008).
838:
25:
3467:
3411:African-American gender relations
1879:
1066:Harris-Perry, Melissa V. (2011).
1037:Berry, D.R.; Gross, K.N. (2020).
159:. Some scholars feel that in the
3431:Stereotypes of African Americans
1287:"Clipped From The Baltimore Sun"
1004:Parker, Alison M. (2020-02-06).
975:"The Mythification of the Mammy"
816:Stereotypes of African Americans
2481:(self styled captain, braggart)
1741:Wingfield, Aida Harvey (2007).
1734:
1721:
1694:
1613:
1568:
1535:
1510:
1463:
1454:
1445:
1390:
1334:
1328:
1304:
1279:
1252:
1182:Studies in Gender and Sexuality
1173:
1092:
930:Studies in Gender and Sexuality
399:children have grown to adults.
1059:
1045:
1030:
917:
893:Walker-Barnes (2014), p. 85-88
660:Beloved Belindy Johnny Gruelle
402:
385:Roles in plantation households
145:Ulric Stonewall Jackson Dunbar
87:, approximately 1877 to 1966.
13:
1:
3426:Blackface minstrel characters
1194:10.1080/15240657.2018.1491456
942:10.1080/15240657.2018.1491454
826:
664:
163:, the mammy played a role in
1821:The Journal of Negro History
1542:Brown, Elisha (2019-03-27).
1139:The Journal of Negro History
354:
111:slavery in the United States
76:slavery in the United States
7:
2985:
2852:Elderly martial arts master
2547:Hooker with a heart of gold
1823:, Vol. 23, No. 3, July 1938
1226:Vigdor, Neil (2021-02-10).
924:Green, Emily (2018-07-03).
789:
561:a novel by Kathryn Stockett
345:
106:, first published in 1852.
10:
3472:
3436:Stereotypes of black women
3037:
1488:10.1162/jinh.1999.30.3.547
1470:Reverby, Susan M. (1998).
1419:Brooks, Xan (2011-10-20).
846:"Portrait of Mauma Mollie"
771:historically black college
214:included the mammy in his
132:
90:
29:
27:U.S. historical stereotype
3338:
3287:
3209:
3043:
3032:
2997:
2970:
2939:
2916:
2860:
2837:
2814:
2805:
2778:
2760:
2737:
2714:
2681:
2653:
2625:
2587:
2524:
2515:
2511:
2500:
2427:
2367:
2339:
2310:
2292:
2283:
2258:
2218:
2179:
2151:
2142:
2110:
2082:
2021:
2012:
2008:
1997:
1979:
1690:– via Google Books.
1638:10.1007/s12111-012-9238-x
1070:. Yale University Press.
1053:"Mammy Monument Proposal"
780:
654:
567:
514:
285:Fictional characteristics
60:Adams County, Mississippi
3254:Fried chicken stereotype
1293:. 1963-04-21. p. 33
699:NAACP, and other critics
675:Homeward Unincorporated.
489:Aunt Priscilla's Recipes
269:. She cites as examples
3446:Female stock characters
3234:Black American princess
1849:Walker-Barnes, Chanequa
1360:Haskell, Molly (2010).
911:Ferris State University
411:1909 advertisement for
3371:Black people in comics
2579:Manic Pixie Dream Girl
2003:By ethics and morality
979:University of Virginia
907:"The Mammy Caricature"
627:
607:
484:
446:Ethel Ernestine Harper
424:
423:family at bottom right
254:Chanequa Walker-Barnes
165:historical revisionism
161:Southern United States
152:
62:
43:
3451:Slang terms for women
3376:Colored people's time
3279:Watermelon stereotype
1840:Turner, Patricia A.,
1366:Yale University Press
851:World Digital Library
618:
604:Boots and Her Buddies
601:
589:Boots and Her Buddies
586:Opal, Edgar Martin's
470:
410:
263:supporting characters
258:political correctness
142:
98:Harriet Beecher Stowe
69:is a U.S. historical
49:
40:
1887:The Mammy Caricature
1828:Killers of the Dream
1805:Clinton, Catherine,
1673:. Psychology Press.
1580:Manifold @uminnpress
1364:. Icons of America.
575:Bobby's Make-Believe
559:is a movie based on
310:Melissa Harris-Perry
204:Melissa Harris-Perry
186:Historical criticism
56:novelty architecture
30:For other uses, see
2793:Princess and dragon
2691:Princesse lointaine
2191:(servants, clowns:
2161:Gentleman detective
1895:Birth of the Nation
1603:"It's Raggedytime!"
985:on October 13, 2018
415:pancake mix in the
3389:Life as a BlackMan
3249:Criminal black man
3078:Identity formation
2868:American mappillai
2780:Damsel in distress
2562:Magical girlfriend
2467:(wealthy old men,
1899:Gone with the Wind
1782:Bernstein, Robin,
1777:General references
1609:. August 24, 1986.
1607:washingtonpost.com
1548:The New York Times
1232:The New York Times
1010:The New York Times
740:What's Happening!!
628:
611:Dolls and ceramics
608:
530:Gone with the Wind
496:during the 1930s.
485:
481:The Baltimore Sun,
454:Mrs. Butterworth's
425:
321:Jezebel stereotype
157:Reconstruction Era
153:
63:
44:
3398:
3397:
3295:Angelfood McSpade
3224:Angry black woman
3171:
3170:
3167:
3166:
3048:Adolescent clique
3028:
3027:
3024:
3023:
3020:
3019:
2801:
2800:
2537:Farmer's daughter
2506:By sex and gender
2496:
2495:
2492:
2491:
2488:
2487:
2279:
2278:
2138:
2137:
2059:Mythological king
1903:Song of the South
1885:Pilgrim, David. "
1731:. Shades of Noir.
1714:978-0-313-35203-4
1403:Los Angeles Times
1383:978-0-300-16437-4
1341:Collectors Weekly
1291:The Baltimore Sun
1077:978-0-300-16541-8
806:Madame Sul-Te-Wan
762:A Different World
540:Big Momma's House
444:(1948–1966), and
417:New York Tribune,
364:Living conditions
103:Uncle Tom's Cabin
16:(Redirected from
3463:
3310:Coon Chicken Inn
3264:Mammy stereotype
3244:Black matriarchy
3198:
3191:
3184:
3175:
3174:
3094:Little green men
3083:Imaginary friend
3034:
3033:
2990:
2812:
2811:
2752:Mammy stereotype
2706:Yamato nadeshiko
2522:
2521:
2513:
2512:
2502:
2501:
2377:Bug-eyed monster
2341:Social Darwinist
2290:
2289:
2266:Good cop/bad cop
2149:
2148:
2019:
2018:
2010:
2009:
1999:
1998:
1973:Stock characters
1966:
1959:
1952:
1943:
1942:
1933:
1931:
1875:
1826:Smith, Lillian,
1770:
1769:
1767:
1765:
1753:(1/2): 196–212.
1738:
1732:
1725:
1719:
1718:
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1259:Fauzia, Miriam.
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990:
981:. Archived from
971:
962:
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921:
915:
914:
903:
894:
891:
864:
863:
861:
859:
842:
832:Inline citations
796:Black matriarchy
643:was designed by
636:Mammy's Cupboard
606:(March 21, 1926)
119:domestic workers
115:African American
52:Mammy's Cupboard
21:
3471:
3470:
3466:
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3334:
3283:
3205:
3202:
3172:
3163:
3039:
3016:
2993:
2966:
2935:
2918:Prince Charming
2912:
2908:Superfluous man
2903:Nice Jewish boy
2856:
2833:
2797:
2774:
2756:
2739:Lady-in-waiting
2733:
2710:
2677:
2649:
2621:
2607:Fairy godmother
2583:
2507:
2484:
2423:
2363:
2335:
2306:
2275:
2254:
2233:Gentleman thief
2214:
2207: and
2175:
2134:
2106:
2078:
2004:
1993:
1975:
1970:
1929:10.18737/M7PK6W
1916:Southern Spaces
1882:
1873:
1812:Jewel, K. Sue,
1791:Bogle, Donald,
1779:
1774:
1773:
1763:
1761:
1739:
1735:
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1722:
1715:
1699:
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1600:
1593:
1584:
1582:
1574:
1573:
1569:
1560:
1558:
1540:
1536:
1526:
1524:
1518:"Frank O. King"
1516:
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1174:
1151:10.2307/2714687
1135:
1118:
1111:
1097:
1093:
1078:
1064:
1060:
1051:
1050:
1046:
1041:. Beacon Press.
1035:
1031:
1022:
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998:
988:
986:
973:
972:
965:
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918:
905:
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867:
857:
855:
844:
843:
839:
834:
829:
792:
783:
686:Hattie McDaniel
667:
657:
641:Beloved Belindy
613:
602:Edgar Martin's
595:
570:
549:Martin Lawrence
521:Hattie McDaniel
517:
506:The Evening Sun
502:Eleanor Purcell
405:
387:
366:
357:
348:
287:
245:, and southern
208:white supremacy
188:
169:chattel slavery
137:
131:
93:
35:
28:
23:
22:
15:
12:
11:
5:
3469:
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3418:
3413:
3396:
3395:
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3392:
3385:
3378:
3373:
3368:
3363:
3358:
3356:Mister Charlie
3353:
3348:
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3335:
3333:
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3327:
3322:
3317:
3312:
3307:
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3276:
3271:
3266:
3261:
3256:
3251:
3246:
3241:
3236:
3231:
3226:
3221:
3219:Alligator bait
3215:
3213:
3207:
3206:
3201:
3200:
3193:
3186:
3178:
3169:
3168:
3165:
3164:
3162:
3161:
3156:
3151:
3146:
3144:Tragic mulatto
3141:
3136:
3131:
3126:
3121:
3119:Shoulder angel
3116:
3111:
3106:
3101:
3096:
3091:
3090:("The Lovers")
3085:
3080:
3075:
3070:
3065:
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3055:
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2732:
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2726:
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2712:
2711:
2709:
2708:
2703:
2698:
2696:Southern belle
2693:
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2679:
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2670:
2665:
2659:
2657:
2651:
2650:
2648:
2647:
2642:
2637:
2631:
2629:
2627:Hawksian woman
2623:
2622:
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2619:
2614:
2609:
2604:
2599:
2593:
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2585:
2584:
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2574:
2569:
2559:
2554:
2549:
2544:
2542:Girl next door
2539:
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2528:
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2519:
2509:
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2498:
2497:
2494:
2493:
2490:
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2483:
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2476:
2462:
2457:
2455:Masked villain
2452:
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1880:External links
1878:
1877:
1876:
1872:978-1620320662
1871:
1863:Wipf and Stock
1845:
1838:
1831:
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1817:
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1632:(3): 308–326.
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1482:(3): 547–548.
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1215:
1188:(3): 188–190.
1172:
1145:(3): 349–369.
1116:
1110:978-0472034017
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936:(3): 164–182.
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750:The Jeffersons
734:Gimme a Break!
728:That's My Mama
695:Louise Beavers
666:
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661:
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649:Johnny Gruelle
612:
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580:Gasoline Alley
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498:Aunt Priscilla
473:Aunt Priscilla
458:Cream of Wheat
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275:Mercedes Jones
271:Miranda Bailey
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135:Mammy memorial
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123:white American
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58:restaurant in
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2931:Knight-errant
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2899:
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2893:Little Johnny
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2878:Ivan the Fool
2876:
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2869:
2866:
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2839:Father figure
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2655:Woman warrior
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2527:
2525:Love interest
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2402:Swamp monster
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2154:
2153:Lovable rogue
2150:
2147:
2145:
2141:
2129:
2126:
2125:
2124:
2123:Super soldier
2121:
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2100:
2098:
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2049:Knight-errant
2047:
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2040:
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2034:Christ figure
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2027:
2026:
2024:
2020:
2017:
2015:
2011:
2007:
2000:
1996:
1990:
1987:
1985:
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811:Magical Negro
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547:and starring
546:
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494:Baltimore Sun
491:
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469:
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463:
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451:
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440:(1923–1951),
439:
438:Anna Robinson
435:
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181:
180:National Mall
177:
174:In 1923, the
172:
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3263:
3159:White savior
3129:Straight man
3063:Dragonslayer
3012:Black knight
2980:Seme and uke
2962:Mountain man
2952:Noble savage
2847:Wise old man
2751:
2668:Magical girl
2640:Femme fatale
2617:Loathly lady
2572:Monster girl
2417:Nazi zombies
2392:Monster girl
2359:Supervillain
2321:Double agent
2294:Antivillains
2248:Space pirate
2181:Tricky slave
2128:Space marine
2092:Byronic hero
2074:Youngest son
2022:Classic hero
1919:
1915:
1902:
1898:
1894:
1859:
1856:
1841:
1834:
1827:
1820:
1813:
1806:
1799:
1792:
1784:
1762:. Retrieved
1750:
1746:
1736:
1723:
1707:. ABC-CLIO.
1703:
1696:
1684:. Retrieved
1669:
1662:
1629:
1625:
1615:
1606:
1583:. Retrieved
1579:
1570:
1559:. Retrieved
1547:
1537:
1525:. Retrieved
1521:
1512:
1479:
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1456:
1447:
1436:. Retrieved
1425:The Guardian
1424:
1402:
1392:
1361:
1355:
1344:. Retrieved
1340:
1330:
1319:. Retrieved
1315:
1306:
1295:. Retrieved
1290:
1281:
1270:. Retrieved
1264:
1254:
1243:. Retrieved
1231:
1185:
1181:
1175:
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1100:
1094:
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1038:
1032:
1021:. Retrieved
1009:
999:
987:. Retrieved
983:the original
933:
929:
919:
910:
856:. Retrieved
849:
840:
784:
765:was a 1980s
760:
759:
748:
745:
738:
732:
726:
719:
716:Esther Rolle
709:
707:
703:
691:Ethel Waters
674:
668:
633:
629:
603:
594:
587:
578:
574:
555:
553:
545:Raja Gosnell
543:directed by
538:
536:
528:
518:
510:
505:
493:
487:
486:
480:
475:and text in
442:Edith Wilson
426:
419:featuring a
416:
392:
388:
379:
371:
367:
358:
349:
339:
337:
318:
313:
308:
299:dark skinned
288:
267:protagonists
256:argues that
251:
239:essentialism
234:
232:
224:Mickey Mouse
215:
200:young adults
189:
173:
154:
108:
101:
94:
85:Jim Crow era
66:
64:
3456:Aunt Jemima
3361:House negro
3300:Bigger Hair
3288:Caricatures
3269:Video vixen
3211:Stereotypes
3104:Mole people
2947:Feral child
2829:Scaramouche
2701:Valley girl
2663:Jungle girl
2635:Dragon Lady
2612:La Ruffiana
2557:Loosu ponnu
2479:Il Capitano
2102:Tragic hero
2054:Legacy hero
2029:Action hero
1686:January 21,
1527:January 21,
1522:lambiek.net
1368:. pp.
1335:Hix, Lisa.
989:January 21,
775:Aunt Jemima
755:Marla Gibbs
682:Marlin Hurt
670:Televisions
645:Raggedy Ann
462:Quaker Oats
450:Uncle Ben's
434:Nancy Green
429:Aunt Jemima
413:Aunt Jemima
403:Advertising
351:her owner.
325:promiscuous
291:older woman
220:Santa Claus
212:Andy Warhol
192:historicity
113:. Enslaved
3405:Categories
3382:Ghettopoly
3346:Black doll
3325:Pickaninny
3239:Black Buck
3139:Town drunk
3088:Innamorati
2788:Final girl
2770:Gamer girl
2473:Il Dottore
2445:Folk devil
2387:Killer toy
2382:Evil clown
2302:False hero
2243:Air pirate
2205:Pulcinella
1585:2021-04-02
1561:2021-04-02
1438:2021-04-01
1346:2021-04-02
1321:2021-04-01
1297:2021-04-01
1272:2021-04-01
1245:2021-04-01
1023:2023-02-06
827:References
721:Good Times
665:Television
333:confidante
295:overweight
133:See also:
71:stereotype
3366:Uncle Tom
3315:Coon song
3305:Blackface
3229:Baby mama
3149:Truck-kun
3053:Barbarian
2987:Otokonoko
2940:Primitive
2816:Harlequin
2807:Masculine
2762:Geek girl
2747:Columbina
2683:Queen bee
2469:Pantalone
2440:Archenemy
2349:Dark lord
2331:Terrorist
2326:Evil twin
2197:Brighella
2193:Harlequin
2171:Trickster
2118:Cyberhero
2097:Man alone
2069:Superhero
2044:Folk hero
1989:Archetype
1654:143092368
1646:1559-1646
1556:0362-4331
1504:142604204
1496:0022-1953
1433:0261-3077
1266:USA Today
1240:0362-4331
1210:149726795
1202:1524-0657
1167:149661079
1086:711045639
1018:0362-4331
958:149684818
950:1524-0657
821:Uncle Tom
621:figurines
471:Image of
396:etiquette
375:wet nurse
355:Education
303:deference
279:Ivy Wentz
265:to white
247:nostalgia
243:mythology
196:teenagers
143:Sculptor
3351:Miss Ann
3320:Golliwog
3134:Tokenism
3124:Sidekick
3114:Redshirt
3109:Pop icon
2926:BishĹŤnen
2898:Nice guy
2645:Tsundere
2597:Cat lady
2517:Feminine
2407:Vampires
2397:Skeleton
2369:Monsters
2285:Villains
2084:Antihero
2039:Everyman
1851:(2014),
1759:41675204
790:See also
647:creator
577:, 1919,
573:Rachel,
556:The Help
421:rag doll
346:Clothing
228:Superman
149:maquette
80:American
54:", 1940
42:mother".
3007:Pachuco
2999:Bad boy
2957:Caveman
2824:Pierrot
2729:Laotong
2724:Class S
2567:Catgirl
2552:Ingénue
2532:BishĹŤjo
2465:Vecchio
2412:Zombies
2228:Bad boy
2209:Pierrot
2203:,
2201:Scapino
2199:,
2195:,
2064:Paladin
1816:, 1993.
1316:NPR.org
1159:2714687
858:June 2,
623:in the
583:, 1921.
477:dialect
329:asexual
147:with a
91:History
3421:Ageism
3330:Rastus
3038:Others
2673:Virago
2435:Alazon
2238:Pirate
2220:Outlaw
2144:Rogues
2014:Heroes
1901:, and
1869:
1757:
1711:
1677:
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1200:
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948:
854:. 1850
781:Legacy
767:sitcom
678:Beulah
655:Novels
619:Mammy
568:Comics
515:Cinema
456:, and
297:, and
277:, and
226:, and
3339:Other
3068:Donor
3058:Clown
2873:Himbo
2861:Young
2602:Crone
2460:Miser
2428:Other
2259:Other
2189:Zanni
2111:Other
1764:7 May
1755:JSTOR
1650:S2CID
1500:S2CID
1206:S2CID
1163:S2CID
1155:JSTOR
954:S2CID
801:Dinah
711:Maude
479:from
216:Myths
67:mammy
32:Mammy
3073:Fool
2972:LGBT
2888:Jock
2883:Jack
2716:LGBT
2471:and
2450:Igor
2313:mole
2311:The
2271:Rake
2166:Jack
1984:List
1920:2009
1867:ISBN
1766:2023
1709:ISBN
1688:2019
1675:ISBN
1642:ISSN
1552:ISSN
1529:2019
1492:ISSN
1429:ISSN
1378:ISBN
1236:ISSN
1198:ISSN
1105:ISBN
1082:OCLC
1072:ISBN
1014:ISSN
991:2019
946:ISSN
860:2013
737:and
483:1921
198:and
190:The
2589:Hag
1924:doi
1634:doi
1484:doi
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249:."
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
