In a society driven largely by visual culture (advertisements, film, social media, etc.) it is important to understand how such media is constructed by dominant ideologies, and how this unconsciously affects the consumer’s beliefs, prejudices, and biases towards particular subjects. As intellectual and philosopher, Marshall McLuhan, once said, “The medium is in the message”, meaning that medium which something is produced is an extension of the creator (either consciously or unconsciously) which can hold many unintended social messages and constructs regarding interpretations of events and ideologies of gender and race, among other subject matter (1964). Thus, the message cannot be separated from the intentions (and lifestyle) of the artist or producer. The goal of this essay is to deconstruct these dominant meanings and ideologies of race behind the film ‘To Kill a Mockingbird’ (1962) originally written by Harper Lee, and adapted to film by director Robert Mulligan. Although ‘To Kill a Mockingbird' is a vastly praised and discussed novel, it is important to note how the dominant theories and ideologies of race produced at the time function in the film, despite it’s positive message regarding prejudice and other racial issues. Ideology of race within the novel will be discussed through the analysis of the application of White gaze in the film, the idea of the White saviour, the affirmation of traditional race relationships and racist caricatures, as well as the idea that the African American figures presented in the film lack agency and depend on the actions and instruction of Caucasian characters (ie. Atticus Finch). As there are few prominent figures in the film, I will focus mainly on the actions of Atticus Finch and how his character directly and indirectly perpetuates both African American and Caucasian ideologies of race from the 1960s (when the film was released) and the 1930s (the setting of the story).
Ideology is a term used to describe the way in which others act or are portrayed according to current societal beliefs and normative discourses (Hussain, 2018). Ideology can be represented through media discourses regarding gender, race, and family, among other issues. Current ideology is controlled by those in power, who are able to promote prominent ideas to the lower classes which appease the dominant narratives that exist in more powerful communities. This idea can be better explained through Marxian theory regarding the relationship between the proletariat and the bourgeoisie (Drucker, 1972, p.155). In this example, a power-relation exists between the bourgeoisie, who control the means of production, and the proletariat, who are subject to said control (Berti, 2018). The poor need the wealthy to supply jobs, and the wealthy need the poor to uphold dominant ideologies of the upper class to maintain order. They both oppose and support one another (Turner et al, 148). This is how inaccurate or wrongful ideologies are perpetuated throughout society, including by those who are negatively affected by such ideas (in regards to this essay, African Americans). It is important to note that there are many definitions of ideology that remain in the discourse of classic sociological theorizing. Contrasting Marxian ideas of ideology, Michael Foucault offers the definition of ideology as a string of ever-changing power relations and “speculative discourses” that affect everyone despite their position of power or class. Thus, ideology is abstract and does not discriminate, instead it is built by everyone in society, and is ever changing (Daldal, 2014). Although, for the purpose of this essay, I will follow the guidelines of the traditional Marxian definition to evaluate how ideology functions through power relations and how images are produced that are more favourable to ideas of the ruling class.
In a world dominated by visual culture, ideology is unavoidable. As to have something without ideology is to remove all bias and subjectivity from an image, text, or film. As Ferguson states “There is no way that we can write about and research the representation of race in the media and somehow outside of ideology”, meaning whether we are aware of it or not, ideology exists in all media produced (1998, p.10). In this, we are unable to “read” an image without subjecting it to our own judgements, prejudices, and ideologies (ex. Looking at an image through the lens of a White female). Although media can be produced that forces us to see an event through a particular lens, but it is usually through the imagery of the dominating media industry (White male depictions of events). Images in the media portray “versions of reality” that we either want to see, think we see, or expect to see, all of which are influenced by culture, societal thoughts, and individual actions produced by the dominant class (O’Shaughnessy and Stadler, 2002). Individuals subject to crude or inaccurate representations through the media tend to “take up the identity they are offered” as it becomes easier to interpellate if you adhere to the normative ideas, as it is what society expects (Hussain, 2018). This relates to the concept of racialisation. Racialisation refers to how preceded judgements are based upon how someone may be viewed from the exterior. In reference to this, people of minorities are often portrayed in media based on first judgements or opinions that lack understanding of the individual, their culture, or background. Ideology of race in media refers to how people of colour are often depicted using stereotypes, or are whitewashed, often having less distinctive characteristics or roles. As ideology is the prominent ideas the upper class, media is predominantly white, or “white washed”, which has previously looked unfavourably upon other races or ethnicity that stray from the “white norm”, which can be seen in the film adaptation of Harper Lee’s To Kill a Mockingbird (1962), which I will further examine later in this essay.
To Kill a Mockingbird (TKAM) is a timeless coming of age film about race, prejudice, and societal conflicts in a small American town. The protagonist, a young girl named Scout, comes to terms with the unfair and prejudiced world she lives in through witnessing a court trial her father is involved in regarding a black man, Tom Robinson, being wrongly accused of rape. As her father represents Tom in court, Scout is subject to harassment from both her classmates and town members, for reasons she is yet to understand. I chose to evaluate the film ‘To Kill a Mockingbird’ over the novel, as the film provides the viewer with concrete images that reflect both the book, and the time in which it was published and that of when it was later produced. The film reflects typical Hollywood ideas operating within society and thus visuals are able to perpetuate how these narratives transcend to the screen and display themselves. Films allow for more blatant portrayals of the character (using explicit visual culture). The story was highly regarded as it called attention to and identified racial inequalities. Although, in doing so it also perpetuated common racial ideologies. The book is set in the 1930s, although was published in 1960, with the movie coming shortly after in 1962, in the midst of the US Civil Rights Movement. As a result, much of the imagery and ideology in the film revolves around black oppression and white supremacy.
Media is never objective, and is most frequently unconsciously displayed through the white lens (through the interpretation of a white person). As expressed by Yancy et al (2008), we expect stories to be told through the white gaze, thus we do not always recognize coding and inferences that effect the way we decode images. TKAM is a story of racial oppression, although it is told through the eyes of a white female.The film surrounds the events that Scout Finch witnesses, thus the entire story is shown through a white gaze (Macaluso, 2017, p.279). Although this allows for the viewer to gain perspective into Scout’s realization of an unjust society, it also leaves little room for discourse within the African American community of the film. Even though the film circulates ideas of racism and focuses on the black community, the events that occur only take place through that of the eyes of the onlooking white community, black characters are in no way in control of their story or able to display their experiences with prejudice or racism within the town. Unfortunately, due to this, the execution of the story is not as powerful as it could be (if included all voices) and is instead one sided. In having the film solely told by Scout, it confirms the lack of agency or voice within the African American community as she is telling “their story”.
Although the main character, Atticus, promotes and represents the ideas of racial equality and justice, his character reflects white ideologies of society at that time. White ideology denotes privilege, power, superiority, and has historically been seen as an allegory for goodness (Hussain, 2018). Atticus resembles this as he fights for the rights of an innocent African American man, an uncommon racial circumstance at the time, as the story is based in the early 1930s. Atticus can also be viewed as another “white saviour”, a prominent character attribute of films produced in the 20th century, as media was (and still is) dominated by the white male. Connie Oxford accurately defines the white saviour as “the saviour/hero protagonist rescuing people of colour; social institutions, such as courts, upholding white privilege; whiteness monopoly on civilization in relation to the uncivil savage other” (2004, p.568). Immediately, parallels can be seen between TKAM and this definition. Atticus fulfills the role of the white saviour as he is looked up to by the black community in the film (whom are relying on him for the legal aid of Tom) regardless of the end result (Tom’s death). Atticus is looked upon favourably by the viewer as he is seen as face of justice, since he opposes racism in a time when such a thing was unheard of (Macaluso, 2017, p.279). Throughout the film, secondary characters are used to bring forth Atticus’ power. An example of this is when Atticus is asked to shoot the rabid dog as he “has the best aim”. These instances are used to elevate Atticus in both the eyes of the viewer, as well as of others in the town. Although, this could be because the film is based around Scout, who admires her father. However, this does not excuse the fact that other community members both look up to and respect Atticus as well and portray him to be the “White Saviour” in the Caucasian and African American communities.
Furthermore, the interactions between African American characters and Caucasian characters affirm traditional race ideology relationships. Atticus is deemed a hero as he helps the impoverished and uneducated Tom. In the court scene, all stand in respect for Atticus at the end of the trial, the onlooking African Americans only sit down and leave once Atticus does so, a sign of respect and indebtedness to his service. Moreover, Atticus justifies the racist behaviour of other Caucasian individuals, but never identifies to his children (or others) why it is inappropriate (Macaluso, 2017, p.279). Without retribution, white characters continue in overtly racist ways, which Atticus excuses, reinforcing in the other characters that prejudice and racism are okay. Despite TKAM presenting white identity as the normative within society, the nature and building events of the film reinforce “whiteness” and aim to make the viewer question why white is deemed normal. Thus, the film successfully shows prejudice, but does not enforce racial equality. Instead it affirms traditional ideological race relations prominent in early-mid 20th century North America.
Another way that the ideology of race is perpetuated in TKAM is through the portrayal of African Americans. Through actions, props, and costume, Tom is represented as an uneducated field worker, which shares some parallels with that of early 20th century “Coon Caricature”. In this narrative, black people are represented as uneducated, lazy, lacking agency, impoverished, and simple (Pilgrim, 2000). The first interaction with Tom or his family is when Atticus visits the family home with Scout and Jem. The front of the house is laden with debris, the first indication that the Robinson’s are poor. This also feeds into “Coon Caricature” stereotypical ideology that African Americans are lazy, as various items are strewn around, yet to be cleaned. Their home contrasts with that of those in the Finch’s neighbourhood, which are pristine and adorning beautifully kept gardens and lawns. The house is small but we know it is home to many as children envelop the front porch, furthering the idea of poverty in the black community. Additionally, Tom is only displayed wearing farming garments, even in court. This suggests a racial hierarchy between Tom and others involved in the trial who are dressed in traditional work garb. This may imply that Tom can not afford such attire, or that he does not understand the gravity of the proceedings at hand and why one may tend to dress up. Furthermore, it reinforces stereotypical African American ideology by portraying Tom with similar attributes to those displayed in “Coon Caricature”. Tom’s lack of dialogue in the movie as well as his irrational decision to run away after the trial allows for viewers to assume that Tom is simple and thus fits in line with “Coon Caricature”. Tom attempts to escape after his trial although he has a good change of an appeal, which perpetuates the ideology of race regarding uneducated African American that needs the help of white people (in this case, Atticus) to control and ultimately save them. In this way, TKAM didn’t work in challenging stereotypes, but instead wrongfully reinforced them.
Although TKAM covers topics regarding injustice and racial inequality, it succumbs to presenting African American people within the stereotypical ideology of black people lacking agency. Besides Calpurnia, the Finch’s housekeeper, and Tom Robinson, there are no other black characters that the viewer is introduced to. Even so, Tom and Calpurnia have limited dialogue despite the subject matter of the film being about the mistrial of Tom Robinson. The dialogue they do have is limited and subservient to Caucasian characters: Tom’s only dialogue is when he is on trial, and Calpurnia only speaks in regards to household matters (such as cleaning, meals, or discipline). Furthermore, these characters aren’t developed outside the world in which they need to exist for the Finch’s. Nothing is known of Calpurnia besides the fact that she works for the Finch’s, and likewise, the only information we know about Tom is that which is relevant to the trial (Thomas, 2017). The sole purpose of these characters (besides affirming negative ideas of prejudice and racism) is to confirm to the viewer that Atticus is good and just. These characters are resented as lacking direction without the guidance of the Finch’s, among other Caucasian characters of power in the community.
Moreover, Calpurnia is always seen at the right hand of the Finch’s, ready to help. She serves as their maid in the film, no other information of Calpurnia’s life is presented. This depiction of a black female servant to a white family is known as the “Mammy Caricature”. The “Mammy” is a “content, loyal, self-sacrificing maternal figure” that is subservient to the white family she serves (Pilgram, 2000). Although she has a life outside of the family, it is usually not presented, or is shown with distaste. Calpurnia’s character in the movie has little to no dialogue and is not featured in any main events, supporting the above statement that her character is another that is only useful in the aid of portraying Atticus as a white saviour, and as filling the position of the “Mammy”.
An alternative view is that Atticus promotes ideas of equality as he fights for the rights of a man of a racial minority. Although, one could argue that Atticus is not helping Tom to teach the community about racism, but is instead preforming in the trial as it is his job. Nevertheless, the same message of race and prejudice could have been produced without portraying the black characters as naive and impoverished.
In conclusion, the ideology of race is the projected ideas from the upper or dominant class regarding race. This usually favours the white male as they hold the means of production and portray other races as the dominant class sees them, which is frequently in line with the suppression of ethnic minorities and supports (and further develops) white characters. This theory is perpetuated throughout the film adaptation of To Kill a Mockingbird through the use of white gaze throughout the film, presenting Atticus Finch as a white saviour, affirming traditional race relations, and portraying African American characters as lacking agency.