'Beasts of the Southern Wild': Old Stereotypes

Fox Searchlight
Fox Searchlight

The film Beasts of the Southern Wild, released in July, has been widely acclaimed as one of the best independent films of the year by everyone from the New Yorker to Ebony. The story follows a 10-year-old girl named Hushpuppy as she braves her native Bathtub region, located just outside of civil society, where she and her neighbors cope with the elements, both natural and mystical. Storied cultural critic bell hooks, writing as a guest contributor on the blog NewBlackMan (in Exile), parses why she's not only unimpressed by the film but also infuriated by it.

Sadly, all the vibrancy in this film is generated by a crude pornography of violence. At the center of this spectacle is the continuous physical and emotional violation of the body and being of a small six year old black girl called Hushpuppy (played by the ten year old actress Quzenhane Wallis). While she is portrayed as continuously resisting and refusing to be a victim, she is victimized. Subject to both romanticization as a modern primitive and eroticization, her plight is presented as comically farcical. Some audiences laugh as Hushpuppy, when enraged at the antics of her disappearing alcoholic oftentimes abusive wild man dad Wink, burns her shanty house. Initially, she hides from the fire in an overturned cardboard box until Wink rescues her by fiercely yelling mean spirited words that both frighten her and lead her to run for her life; in that moment she is more terrified of her raging dad than she is of the fire.

Hushpuppy has a resilient spirit. She is indeed a miniature version of the ‘strong black female matriarch,' racist and sexist representations have depicted from slavery on into the present day. Like the unrealistic racist/sexist stereotypical images of grown black women in the recent blockbuster film The Help who confront all manner of exploitation and oppression only to triumph in this ridiculous macabre fantasy of modern primitivism, Hushpuppy is a survivor. From the onset of the film, she is depicted as a wild child, so at home in the natural wild of the Gulf of Mexico bayou world where black and white po' folks create their own community affectionately called the Bathtub. This is the territory they claim as a renegade place of belonging. It is a total homemade world of make do, use whatever you got to survive.


Read bell hooks' entire piece at NewBlackMan (in Exile).

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