Talking about diversity and representations of blackness can be frought terrain, even now when we are seeing so many more black men and women in key roles in front of, and behind, the camera.
I thought about this immediately when I read Michael B. Jordan’s recent GQ article. I knew immediately after reading it that it would cause a stir. And not just because of the ongoing internet outrage phenomenon – though that’s certainly a part of it – but because most of us have insufficient language for describing the desire for fuller representations of blackness in art and entertainment.
Particularly when we fall for the trap that white supremacy presents us:
“I want to be part of that movement that blurs the line between white and black,” and tells me this: “I told my team after I finished Chronicle [the successful low-budget sci-fi movie that first partnered him with Fantastic Four director Josh Trank] that I only want to go out for roles that were written for white characters. Me playing the role will make it what it is.”
…Perhaps a more accurate way of putting it is that he would like the same breadth of opportunities as the white actors he takes as career models. The two he has mentioned most often are Leonardo DiCaprio and Ryan Gosling. “They made smart choices,” he says. “They played people, not being ‘a white actor playing a person,’ them playing a person. When I play a person or profession, it’s black this, black that. It’s obvious that I’m black, but why do I have to be labeled as that?” And the best way to guarantee himself a better path, he says, is to be involved when the material is conceived: “Instead of taking something conceptually written for a black guy, I want the stuff that was written for a guy.” (emphasis added)
The emphasis I’ve added really gets to the central problem with Jordan’s point of view – it is rooted in the false notion that white people get to play “raceless” roles.
