Political incorrectness describes the measures undertaken with the intention of avoiding offensive practices inflicted on members of a certain disadvantage group in the society. Historically, it involves people behaviors that are deemed as marginalized and insulting inferior groups who are discriminated against in the society. These disadvantage groups can be comprised of race or ethnicity. Various media platforms and public discourse has implied that these practices are excessive. Over the years various movies have come condemning what they term as liberal efforts to diversify victimization and multicultural diversity through various languages and affirmative actions taken (Ashmos, Plowman, Smith 2011 p.65). The political left argues that conservatives utilize the aspect of political incorrectness to downplay and actively divert the public attention from their discriminatory behavior instilled against disadvantaged groups. This is done by consciously disregarding and critiquing the actual themes pointed out in such politically incorrect movies. The commentators on the political left indicate that the political right often enforces its own form of political incorrectness in order to maintain and decrease critics of its favored race and ideologies. This concept has played a huge role in the US cultural war based on the liberals and conservative's identity and perspectives.
The concept of diversity typically represents multiple individual differences and similarity characteristics that exist among people in the society. Diversity can literally encompass various human characteristics like race, age, ethnicity and also sexual orientation in a distinctly personal and societal environment.
This paper aims to discuss and critically assess the back lash of political incorrectness and lack of diversity as pointed out in the parody of the American West "Blazing Saddles.
The parody of the American West "Blazing Saddles";
This is a western comedy that was ultimately directed by a person known as Mel Brooks in the year 1974. However, it was not quite received well by fans upon release since it is comprised of racially charged humor and stereotypes regarding lack of diversity and political correctness. This makes the movie very controversial. Mel Brookes made it clear that as a result of political incorrectness that surrounds this movie, it could not be made today in the modern era nor approved by the current existing film company executives (Bandy & Stoehr, 2012 p. 55).
The film takes place in the mythical west of 1874, and social realities of 1974 respectively. The white male archetypes definitely typically entail the effects of racial and cultural groups in the region. Focusing on this particular mythology the movie significantly endangers the historical context of the American West, which under-emphasizes racial diversity, by constantly mocking the existing racism in the western regions. However, its entire connection with that release year made it with complete racial stereotypes regarding class level, behavior and the roles of a community (Chatman, Goncalo, Kennedy, Duguid, 2012 p.170). Using the past stereotypes, Brooks has the ability to play to subconscious individual audience anticipations mocking them in order to decrease the diversity of race into a ridiculed state. Evidently, this period is immediately after the time of civil rights and several Black Nationalist movements. This carries the audacity of promoting the self-image of black individuals for their identity, and the existing backlash among racial diversity conservatives and the ultimate political bigots (Chatman et al, 2012 p.145).
The settings of the film and its diversity context is that of American West. Focusing on the American mythology, the past racial altitudes of the region involved the racialist white supremacy in order to patronize the tolerance of other existing races thus reducing the movies diversity.Exodusters who were the black settlers on the western region were deemed as political actors whose aim was to aspire an equality in the political status quo that no other nonwhite individual considered (Hammel, Mason, Stevanovi?, 2010 p.1097).
By incorporating the western myth and historical reality, Brookes makes it possible to confront the historic tendency to forget the diversified and marginalized individuals for reasons such as activism for the people rights especially the black people. Arts struggle in the film is for the survival of his own personal dignity but it is more involved in recognition dimension that what can be viewed in the Exoduster history (Jabbar & Mirza , 2017 p.47)The west cultural setting is aimed to ensure the contrast between the brand image and reality of racial diversity. Brooks focused on the expectations of the audience so as to offer a higher realistic portrait of racial dynamics. In 1974, Brookes had available racially charged material from which to draw the movie "blazing saddles".
With current stereotypes of black society to constantly mock, Brooks is able to expose the ridiculous premises revolving around discrimination and depict them in both plot and image. He thus borrows the image of lawlessness in the surrounding social environment and compares it with Bart's lawful practices to promote and maintain order in Rockridge. It strongly speaks to the cultural diversity and political incorrectness that Brook exploits, that the plot conflict existing is aimed at Bart ensuring that he can maintain the law and political backlash as a sheriff (Kelly, 2017 p.143). This is despite the lawless image that the residents of this particular township have for this specific race. In addition, several stereotypes about laziness, sexual aggression and lack of cultural diversity are seen at the expense of black individual characters by the other white people. For instance, a townswoman literally fainted when Bart says "let me whip this out" which he meant and referred about his speech manuscript. However, the innocent action became a joke eliciting a negative reaction from the township's residents as a result of the stereotypes of sexual aggression that Bart is a black person. Various public altitudes and environmental factors that contribute to the negative stereotypes types such as these are due to the continued discrimination and dismissal. In order to clearly draw the audiences' focus and attention to injustices, Brook usually utilizes the modern era cultural diversity context (Kelly, 2017 p.173). This is the tool that he molds his criticism based on the political incorrectness of the entire society.
Apart from the negative elements of cultural diversity context, Brooks made blazing saddler in a particular setting that recently sparked black activism during the civil rights and nationalist movements. These attitudes present based on dignity and acceptance left a sure mark on the black man. The rights movement offered huge traction to the individual's activist mindset of achieving political rights as opposed to the allowance based on the opportunities of white classes (Mitchell, 2013 p.54).This can be viewed evidently In Bart's character as a key challenger of the white supremacy because he takes immediate action against the road overseer making the whole crew of employees to consciously vie for their equality. Consequently, his vital characterization to perfectly fit this earnestly and ironically is depicted in merely suggesting this role to ensure common dignity in the society.(Kollin,2015 p.89) argues that the background society leading in the movie makes Brat and the other black characters in the film to strongly hold their identities as black Americans. The film gives the apologist attitude in growing Bats role towards equality and acceptance, much in a similar manner that Black Art political activist theorized the "damage" of white people standards to promote their own aesthetics. For example, the Count Basie's Orchestra appears on the movie screen to give him a great performance just before he embarks to his new position as Rockridge sheriff. A high performing and respectable jazz company under the leadership of a respectable black artist indeed fits the contentment of his new position (Mandel, 2014 p.49). The deliberate, meaningful presentation of the symbol of the existing absurdity of the film, it entertains as a symbolic nature of Bart's cultural identity as a black person. The cultural symbols influenced by the attitude placed in the American west mythology gives a ridiculous impact. It functions greater than the entertainment purposes that are meant indicating the effects black activism had on the political era as fully showcased in the movie.
Unsurprisingly, the way the movie deals with race is very distinct from various movies made in the modern era. Instead of revolving around racial stereotypes and racism ideas, Brooks blatantly confronts the themes of political incorrectness and racial diversity prejudice by using charged jokes throughout the movie (Mandel, 2014 p.79). People argue that this racial reliance indicates the past aspects of injustices. Brook release much on humor and ironical concepts to backlash racism rather than just trivialize the movie. He shows that the thugs who constantly mock the minority railroad employees are all foolish people. Their negative plans fail since the villain underestimated Bart who was the black sheriff. The townspeople who initially disrespected and doubted the sheriff based on his black color learned to finally respect him (Symons, 2012 p.64).
The public opinions regarding the movie have ranged from tentative opinions to dismissive one criticizing and showing the movie as being racially insensitive. Many audiences view the media to be a direct demeanor to the black stereotype rather than decreased aspect on racist perpetrators. Some people have gone to an extent of leveling public action against public movie screenings among various black patrons and workers. The movie release contributed to successful complains like at the University of Wisconsin and led to the rising of other lawsuits against Indian police officers and politicians. In a certain case, a black former police officer filed a lawsuit in a court of law, saying that he was fired from his law enforcement position due to his racial background, and produced a workplace screening of the movie as evidence (Moffitt & Tormey, 2014 p.383). However, the judge provided a dismissal note regarding the case arguing that the movie blazing saddles showcased racism to be ridiculous and not acceptable in the provided terms. In all cases, the public opinion highlighted the racially damaging perspective of the movie while the distinct outcomes show probable uncertainty in this aspect. These cases point out the challenging political incorrectness that brings out debate based on its ultimate worth. Brookes observed that organization executives had seen the entire film to be very offensive for release unless being undertaken through several unrecognizable altercations. He further noted and reflected that the movie could never be made today. His personal reflection on the movie taking into account the modern era captures a significant essence of the public domain criticism of blazing saddler: it is much politically incorrect to be a much valuable racial commentary (Peifer, 2013 p.156).
Contrary to various criticism, opinions depict that the film's comedic tools justify the political incorrectness as high ridicule to real racism. Jordan remarks that it is funny how racists never understand the joke involving the perspective of racism. This during the start of the expository part and denunciations of the movies political incorrectness. The film tends to be dismissed as just a mere entertainment (Steyn,2015 p.379)Other claims thus indicate that this dismissal can be quite challenging giving rise to the development of reinforcement of social challenges as people faults to the robust hegemonic ideological dimensions. Critical opinions outline the case that the film's purpose is to expose the absurd nature of racism and hypocrisy of advocates. This dictates western myth to be highly meaningless. In several scenes throughout the movie uses the juxtaposition of racial dynamics to the final completion of mocking racist prejudice. He accuses the audience of their own personal faulted ideas. Therefore, whereas public criticism of political incorrectness depicts the film to be highly insensitive, critical views usually tend to largely denounce that the film instills significant commentary of racial prejudice. It highly points the absurd irony in the political incorrectness of the society (Wennberg, 2014 p.149).
In the mid-20th century, there existed Marxist-Leninist movements that gained political power associated with acquisitions of several paradigms and doctrines between both American communist and socialist and black. In the current era, political incorrectness has been a controversial social force in a particular state having a constitutional guarantee to rights. It increases legitimacy situations or issues that have been debated widely (Vickery, 2016 p.59). As a conspiracy theory, conservative commentators in the western nations depict that political incorrectness and multicultural diversity are conspiracies with an aim of undermining values. In the modern era, it’s blamed for censorships with authorities citing it to be against violence on the media as a contributor to other mainstream culture. Currently, for example in the US, it is evident that if parliamentary motions fail in parliament regarding these aspects, most Muslim youth will become radicalized. They will feel discriminated and fall victims to the hateful propaganda. Religious groups have been campaigning strictly against violence, racism, and cases of homosexuality on the media (Western, S., 2016 p.45). Indicates that mainstream politicians in France, Germany, and the Netherlands are having electoral defeat due to denying that there is a challenge of political incorrectness in matters such as racism and Islam radicalization. Demagogue politicians increase their establishment and pounce on demonstrators who protest on liberation and political incorrectness. This suggests that the movie blazing saddles could not be made today.
Ashmos Plowman, D. and Smith, A.D., 2011. The gendering of organizational research methods: Evidence of gender patterns in qualitative research. Qualitative Research in Organizations and Management: An International Journal, 6(1), pp.64-82.
Bandy, M.L. and Stoehr, K., 2012. Ride, Boldly Ride The Evolution of the American Western. Univ of California Press.
Chatman, J.A., Goncalo, J.A., Kennedy, J.A. and Duguid, M.M., 2012. Political correctness and group composition: A research agenda. In Looking Back, Moving Forward: A Review of Group and Team-Based Research (pp. 161-183). Emerald Group Publishing Limited.
Hammel, E.A., Mason, C. and Stevanovi?, M., 2010. A fish stinks from the head: Ethnic diversity, segregation, and the collapse of Yugoslavia. Demographic Research, 22, pp.1097-1142.
Jabbar, A. and Mirza, M., 2017. Managing diversity: an academic's perspective on culture and teaching. Race Ethnicity and Education, pp.1-20.
Kelly, A., 2017. Political Correctness Protects More Than It Harms. Political Correctness, p.142-389.
Kollin, S., 2015. Captivating Westerns: The Middle East in the American West. U of Nebraska Press.
Mandel, R., 2014. Racing diversity: ethnicity, euphemisms, and ‘others'. In the Routledge International Handbook of Diversity Studies (pp. 78-84). Routledge.
Mitchell, L.C., 2013. Violence in the Film Western. In Violence and American cinema (pp. 184-199). Routledge.
Moffitt, B. and Tormey, S., 2014. Rethinking populism: Politics, mediatization and political style. Political Studies, 62(2), pp.381-397.
Peifer, J.T., 2013. Palin, Saturday Night Live, and framing: Examining the dynamics of political parody. The Communication Review, 16(3), pp.155-177.
Steyn, M., 2015. Critical diversity literacy. Routledge international handbook of diversity studies, pp.379
Symons, A., 2012. Mel Brooks in the Cultural Industries. Edinburgh University Press.
Vickery, J., 2016. Book review: culture, economy, and politics: the case of New Labour by David Hesmondhalgh, Kate Oakley, David Lee and Melissa Nisbett. LSE Review of Books.
Wennberg, R., 2014. Beyond Confession? ‘Political Religion and Ideological Incorrectness in the Study of Nazism. Religion Compass, 8(5), pp.148-158.
Western, S., 2016. Political correctness and political incorrectness: A psychoanalytic study of new authoritarians. Organisational and Social Dynamics, 16(1), pp.68-84...