Race In Media - Blog Posts
How Climate Change is threatening Culture's Worldwide
NO.1
Mass relocations are a thing that is set to happen thanks to climate change. And as more natural disasters happen that circuits the need for climate change education, more doomsday scenarios appear instead of healthy solutions to help save the planet--with the water rising from melting ice caps, it is destroying island and southern communities, and producing record number droughts in different sides of the planet. Why then does the media frame climate change as something inevitable, and how does that produce apathy, not just in regular people, but in these companies as well?
NO. 2
The research about climate change is all about education; informing the public about counter-options to reduce carbon levels in the air. I know this could benefit one person, if not the whole group, and that is what’s important. So how do we define apathy toward climate change? Well, the definition of apathy first is a lack of feeling or emotion towards something. It is based on a variety of subjects, like race, sex, education, age, food, culture, groups of people, etc. How does apathy relate to other negative concepts like indifference, and how are those emotions dangerous? ‘’How does apathy come to exist? Through ignorance of a toxic and uncoordinated action. Framing is used as an institution and illustrates how it shapes media framing in a toxic event. Even in systems who are supposed to help the average person, are people seen to have a ‘tendency to behave in accordance with what they see as being in their own interests.’’
NO. 3
From “Climate Change and Planned Relocation in Oceania.” Sicherheit Und Frieden (S+F) / Security and Peace, vol. 34, no. 1, 2016, pp. 60–65: ‘‘The sinking islands have become a symbol of the consequences of manmade global warming. The foreshadowing of climate change-related environments and social developments that will affect other parts of the world sooner rather than later. In the current academic and political discourse, migration figures prominently among the social effects of climate change, and climate change-induced migration-conflict nexus, and research and findings have become ever more complex and sophisticated, trying disentangle the ‘long and uncertain casual chains from climate change to social consequences like conflict.’’
NO. 4
In conclusion, the Guna Yala tribe will not be the last island community to relocate because of the rising sea level, thanks to climate change. In fact, billions of people are going to be fleeing, and forced to relocate because of the threatening climate, and the United Nations Framework Convention for Climate Change understands (UNFCCC). From Climate Change and Planned Relocation: HOW CLIMATE RESETTLEMENT CAN WORK FOR COMMUNITIES. Danish Institute for International Studies, 2017: Entire cultures and societies will have to cope with the ‘‘ability to foster broader resilience-oriented solutions driven by the livelihood needs and strategies of the communities in question. When relocation is found to be necessary, [like in the Guna Yala tribe’s case], it should be approached as an expansion of existing livelihood strategies and mobility patterns, not an end to them.’’
The racial aspects of Sci Fi, Fantasy and other forms media
NO. 1
One of the blog posts I have written before was titled ‘Mean World Syndrome’, which talked about how race and media affects everyone on a global scale. Racial aspects of sci-fi, fantasy, and other forms of media have long been a source of controversy. From the stereotypes of aliens in Star Trek to the whitewashing of characters in movies like Avatar, Prince of Persia, etc. these issues have been a major source of discussion in the media landscape. In many cases, racial stereotypes have been used to create a sense of ‘otherness’ for the characters of color in order to reinforce a sense of white superiority. This has led to criticism from fans, activists, and academics who have called for more representation of people of color in sci-fi, fantasy, and other forms of media.
NO. 2
In the entertainment business, inclusivity is hard to come by, and in some cases, the representation of characters of color in these genres is inadequate and often offensive. Characters of color are often relegated to the sidelines and made to serve as the backdrop to white characters’ stories, or they are depicted as tokens and stereotypes. This lack of meaningful representation has led to a push for more diverse casts in sci-fi, fantasy, and other forms of media. ‘‘Like many social sciences, international/intercultural/interethnic communication and media studies are primarily an Anglo-American media images have always been critically dissected, often by scholars with some kind of privileged tie to other cultures—Most makers of these blockbusters are mostly white males with English as their mother tongue, mutli-millionaires or aspiring to become one as soon as possible. They usually internalize a mid-Atlantic view of global history and geography, its central myths and legends. So many blockbusters remain ethnocentric, even today—they tend to make non-Westerners look at the world through Western eyes.’’
NO.3
In addition to representation in the stories themselves, the casting of actors to bring these characters to life has been another source of debate. Many actors of color have argued that they are often typecast into roles that are stereotypical or that do not reflect the true diversity of the world. Films or TV shows with fantasy/sci-fi themes on Netflix, like Chambers or Raising Dion are not being properly advertised because, like Inclusive Advertising: What’s Holding the Industry Back? claims, ‘‘The industry itself is not diverse: The advertising industry — across the ecosystem and at all levels — is not representative, which is itself a barrier to creating representative and inclusive content. Only 19% of in-house and 23% of agency survey respondents reported that their leader almost always considers the demographic diversity of their team when developing content. That, and individuals (in these marketing companies) lack awareness of and access to the knowledge, skills, resources, and tools to create representative and inclusive content. Individuals are confident in their ability to create representative and inclusive content, but only if provided with adequate tools and resources.’’
NO. 4
Of course, there will always be people who dislike seeing a more diverse setting, especially against the established order of Western ‘‘whiteness’’ ideologies. Ultimately, the best way to ensure diversity in these genres is to continue to create stories that feature diverse characters and cultures. If authors, producers, and casting directors make a conscious effort to create more imaginative stories that are inclusive and reflective of the real world, then audiences will be able to experience a more authentic and meaningful experience.
