Year: 2017
Type: article
Abstract: Filmmakers continue to use the “White Savior “ archetype to construct racialized messages in the post-Civil Rights era. These protagonists, who resolutely defend the rights of African Americans, ultimately focalize whiteness and marginalize black characters and voices. Though a white savior features prominently in both To Kill a Mockingbird (1962) and The Help (2011), The Help’s regendering of the archetype invites viewers to imagine a world in which a white savior is no longer necessary. The Help’s update on the white savior trope from Atticus Finch to Skeeter Phelan allows for deeper development of black characters and a different ending, and creates opportunities for a further shift in filmic protagonists.
Author: Brett Seekford
Language: English
Topic: Cinema History and Criticism
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
SDG: Reduced inequalities
Open Access status: green
OpenAlex ID: W2617671425