Imani Cheers | The George Washington University (original) (raw)
Papers by Imani Cheers
Video from September 5, 2012 Imani Cheers, an award-winning journalist, and scholar, joins two Ol... more Video from September 5, 2012 Imani Cheers, an award-winning journalist, and scholar, joins two Ole Miss faculty members in a program exploring media portraits of minority women. Assistant professor of history Deirdre Cooper Owens, who teaches about slavery, race, gender and the history of medicine, is also on the panel. Associate professor Kirk Johnson, another Ole Miss teacher who has conducted research about news images of African Americans, rounds out the panel. Mark K. Dolan, an associate professor of journalism who teaches and writes about the black press, serves as moderator
Journal of Mass Communication and Journalism, Nov 5, 2014
UCLA Center for the Study of Women, Feb 1, 2008
Routledge eBooks, Jul 20, 2017
Journal of Mass Communication and Journalism, Nov 5, 2014
Break-dancing, graffiti art, Djing and emceeing are the foundations of the international artistic... more Break-dancing, graffiti art, Djing and emceeing are the foundations of the international artistic phenomenon known as hip hop. What began as a local form of urban cultural expression by young African-American and Latino youth in South Bronx, New York, in the late 1970s, has become a mass media global sensation. In this context, mass media refers to television, video, film, radio, print and the Internet. While the foundations of this art form are rooted in social inequality and injustice, the current state of hip hop is in a crisis of sadistic contradictions. Today, the culture that I have been active in for two decades as a supporter (personal level) and producer (professional level) has betrayed me. Hip hop has evolved into a misogynistic culture filled with violent rhetoric and degrading images of black women. As a popular medium, hip hop has become a billion dollar industry. This paper asks (1) why do black women support and produce misogynistic images and the industry that creat...
The International Encyclopedia of Gender, Media, and Communication, Mar 3, 2020
Their work has examined the production and consumption of representations of African Americans in... more Their work has examined the production and consumption of representations of African Americans in general and African American women in particular in popular culture from 19th-century minstrel shows, to radio programs in the 1930s, the early days of television, and contemporary ownership and programming. These scholars have laid the foundation for a critical understanding of the historical representation of Black women in television. Black women have been depicted in mass media (film, radio, television) since the turn of the 20th century. Hill, Raglin, and Johnson (1990) provide a 40 year (1950-1990) retrospective of the role Black women played in the history of television. This pivotal work along with other research, examines the historical and contemporary contributions that Black women have made in the television industry. There are several Black women in the late 1920s and 1930s who gained national and international success as performers, singers, and dancers (Cheers, 2017); for example, the incomparable Ethel Waters (1896-1977). Waters is best known as a blues and jazz singer but also an accomplished Broadway, film, and television actress. During television's infancy NBC executives made a decision that would change the course of this new medium. On June 14, 1939, Waters hosted a variety program, The Ethel Waters Show, becoming the first African American to host her own television program. Accompanied by other Black actresses, Fredi Washington and Georgette Harvey, the one-night stand-alone program was historic. When television became the new popular medium for news and entertainment in the late 1940s, the same stereotypes depicted on radio programs and in films migrated to the small screen. It is important to note that during this medium transition (1940s-1950s) and up until the early 1980s, creative control was in the hands of White men who created the television roles and subsequent images of African Americans. One of the earliest and most popular examples of this White controlled representation is the radio show Amos 'n' Andy with Freeman Gosden and Charles Correll, two White male minstrel actors who created the hit radio show in 1928. Another White actor, Marlin Hurt, first introduced radio audiences to Beulah Brown in 1939. It was common during radio's heyday for White actors to depict both Black men and women in programs, usually relying on racist, demeaning stereotypes for their portrayals. Hurt
Video from September 5, 2012 Imani Cheers, an award-winning journalist, and scholar, joins two Ol... more Video from September 5, 2012 Imani Cheers, an award-winning journalist, and scholar, joins two Ole Miss faculty members in a program exploring media portraits of minority women. Assistant professor of history Deirdre Cooper Owens, who teaches about slavery, race, gender and the history of medicine, is also on the panel. Associate professor Kirk Johnson, another Ole Miss teacher who has conducted research about news images of African Americans, rounds out the panel. Mark K. Dolan, an associate professor of journalism who teaches and writes about the black press, serves as moderator
Journal of Mass Communication and Journalism, Nov 5, 2014
UCLA Center for the Study of Women, Feb 1, 2008
Routledge eBooks, Jul 20, 2017
Journal of Mass Communication and Journalism, Nov 5, 2014
Break-dancing, graffiti art, Djing and emceeing are the foundations of the international artistic... more Break-dancing, graffiti art, Djing and emceeing are the foundations of the international artistic phenomenon known as hip hop. What began as a local form of urban cultural expression by young African-American and Latino youth in South Bronx, New York, in the late 1970s, has become a mass media global sensation. In this context, mass media refers to television, video, film, radio, print and the Internet. While the foundations of this art form are rooted in social inequality and injustice, the current state of hip hop is in a crisis of sadistic contradictions. Today, the culture that I have been active in for two decades as a supporter (personal level) and producer (professional level) has betrayed me. Hip hop has evolved into a misogynistic culture filled with violent rhetoric and degrading images of black women. As a popular medium, hip hop has become a billion dollar industry. This paper asks (1) why do black women support and produce misogynistic images and the industry that creat...
The International Encyclopedia of Gender, Media, and Communication, Mar 3, 2020
Their work has examined the production and consumption of representations of African Americans in... more Their work has examined the production and consumption of representations of African Americans in general and African American women in particular in popular culture from 19th-century minstrel shows, to radio programs in the 1930s, the early days of television, and contemporary ownership and programming. These scholars have laid the foundation for a critical understanding of the historical representation of Black women in television. Black women have been depicted in mass media (film, radio, television) since the turn of the 20th century. Hill, Raglin, and Johnson (1990) provide a 40 year (1950-1990) retrospective of the role Black women played in the history of television. This pivotal work along with other research, examines the historical and contemporary contributions that Black women have made in the television industry. There are several Black women in the late 1920s and 1930s who gained national and international success as performers, singers, and dancers (Cheers, 2017); for example, the incomparable Ethel Waters (1896-1977). Waters is best known as a blues and jazz singer but also an accomplished Broadway, film, and television actress. During television's infancy NBC executives made a decision that would change the course of this new medium. On June 14, 1939, Waters hosted a variety program, The Ethel Waters Show, becoming the first African American to host her own television program. Accompanied by other Black actresses, Fredi Washington and Georgette Harvey, the one-night stand-alone program was historic. When television became the new popular medium for news and entertainment in the late 1940s, the same stereotypes depicted on radio programs and in films migrated to the small screen. It is important to note that during this medium transition (1940s-1950s) and up until the early 1980s, creative control was in the hands of White men who created the television roles and subsequent images of African Americans. One of the earliest and most popular examples of this White controlled representation is the radio show Amos 'n' Andy with Freeman Gosden and Charles Correll, two White male minstrel actors who created the hit radio show in 1928. Another White actor, Marlin Hurt, first introduced radio audiences to Beulah Brown in 1939. It was common during radio's heyday for White actors to depict both Black men and women in programs, usually relying on racist, demeaning stereotypes for their portrayals. Hurt