1 Gloria T. Hull, Patricia Bell Scott, and Barbara Smith, eds., But Some of Us Are Brave: All the Women Are White, All the Blacks Are Men: Black Women’s Studies (New York: Feminist Press, 1993).
2 John Thornton Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008).
3 Darnell Hunt, “The 2014 Hollywood Writers Report: Turning Missed Opportunities into Realized Ones” (July 2014), www.wga.org/uploadedFiles/who_we_are/HWR14.pdf.
4 Ibid.
5 It should be noted that white males directing decreased by 3 percent in contrast to the year before, while minority males increased by 3 percent, although the study cites that the increase can be attributed to a higher number of episodes directed by Tyler Perry, who solely directed episodes for his three television series.
6 Directors Guild of America, “Employers Make No Improvement in Diversity Hiring in Episodic Television: DGA Report,” September 17, 2014, www.dga.org/News/PressReleases/2014/140917-Episodic-Director-Diversity-Report.aspx.
7 Screen Actors Guild, “2007 and 2008 Casting Data Reports,” www.sagaftra.org/files/sag/documents/2007–2008_CastingDataReports.pdf.
8 Katie M. Kleinman, “Minorities in Prime-Time Television,” November 15, 1999, www.katiekleinman.com/portfolio/minoritiesmedia.php.
9 Jennifer Armstrong and Margeaux Watson, “Diversity: Why Is TV So White,” Entertainment Weekly, June 13, 2008, www.ew.com/ew/article/0,,20206185,00.html.
10 NAACP, “Out of Focus—Out of Sync Take 4: A Report on the Television Industry,” December 2008, http://action.naacp.org/page/-/NAACP...OS%20Take4.pdf.
11 Armstrong and Watson, “Diversity.”
12 Heartsick, comment on the Deadline Team, April 14, 2014, 10:53 a.m., “WGA Diversity Report: Women Writers See Gains in TV, Slide on Film Side,” Deadline Hollywood, April 14, 2014, http://deadline.com/2014/04/writers-...riters-714478/.
13 DevelopmentHell Exec, Twitter post, May 30, 2014, 3:46 p.m., https://twitter.com/DevHellExec.
14 Based on the pattern of Mystery account titles, the assumption is that unless modifiers are in place that suggest otherwise, the owners of said accounts are white males.
15 Keith Negus, “The Production of Culture,” in Production of Culture/Cultures of Production (Thousand Oaks, CA: Sage, 1997), 362–363.
16 Kristen Warner, The Cultural Politics of Colorblind TV Casting (New York: Routledge, 2015).
17 Stuart Hall, “The Spectacle of the Other,” in Representation: Cultural Representations and Signifiying Practices, ed. Stuart Hall (Thousand Oaks, CA: Sage, 2003), 236.
18 For evidence of this trend, look at the press junkets for the films and note how often the actors stress that these are movies “for everybody.”
19 Claude Brodesser-Akner, “Think Like a Man Is the Best-Testing Film in Hollywood—but Can It Win Over Black Men and White Audiences,” Vulture, April 10, 2012, www.vulture.com/2012/04/think-like-a-man-kevin-hart-will-packer.html.
20 Ibid.
21 Ibid.
22 Clyde R. Taylor, “Black Silence and the Politics of Representation,” in African-American Filmmaking and Race Cinema of the Silent Era: Oscar Micheaux and His Circle, ed. Pearl Bowser, Jane Gaines, and Charles Musser (Bloomington: Indiana University Press, 2001), 3.
23 Mark Harris, “The Shonda Rhimes Revolution: Finishing What The Sopranos Started,” Grantland, October 16, 2014, http://grantland.com/hollywood-prosp...s-scandal-abc/.
24 Lacey Rose, “Shonda Rhimes Opens Up about ‘Angry Black Woman’ Flap, Messy Grey’s Anatomy Chapter and the Scandal Impact,” Hollywood Reporter, October 8, 2014, www.hollywoodreporter.com/news/shonda-rhimes-opens-up-angry-738715?utm_source=twitter.
