The only alternative was to cut out the scene altogether, but that was impossible to do without ruining the entire episode.
by Harriet Jacobs (1861) Literature, not cinema, shaped public sentiment in 19th Century America.
Black authors wrote that interracial desire was not romance, but rape.
Again, violence is focused on her psyche if not her body.
The Jezebel caricature is invoked in the raw and rough sex scene where Leticia’s body is visually cannibalized.
If not, chances are you’ve at least read about one or seen one on TV or film. Since slavery, American artists have imagined interracial desire as a danger to black women or to white purity or a moral crisis.
Since it was impossible to imagine racism ending, in the narratives, society overpowered the lovers and they died or were split.
One is Fred, a husky, sincere black man from work who adores her but is boringly normal.
The other is “white” Jay, an awkward white man who mirrors J’s deeply neurotic personality. Race is not a moral crisis or a danger or source of tension.
Inevitably the film becomes a tragedy as social violence from her family, friends and the police cause the pair to separate. Often overlooked is the nuanced portrait of interracial love, and the children who inherit the contradictions left in its wake. (2001) This film of interracial desire repeats the tragic dramatic conventions of earlier decades.
Leticia (Halle Berry), a working poor black woman, becomes the concubine of the white working class corrections officer Hank Grotowski (Billy Bob Thornton).
Slave narratives set for the liberal mind the image of white male violence on black women. was the first novel of this genre (based on Thomas Jefferson’s slave Sally Hemmings) to use the genres of romantic love and tragedy.