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and breakdowns, casting descriptions that usually include characteristics including a characters name, gender, age, race, minor personality traits and a brief life background. Chong does not consider breakdowns problematic in themselves, but as stated by
Russell Robinson in a research article published by the Berkeley Law Scholarship Repository, they tend to discriminate against minorities in the entertainment industry. Part of Robinson's argument against breakdowns is that they are usually created by studio directors and 87% of directors are white. Robinson claims that these directors and others within the film industry can easily decide to change the race of a breakdown or of a character being adapted from another form of media. Robinson stated, "Any person in this decision-making chain might exclude an actor or an entire category of actors based on race or sex-based considerations, yet this discrimination would normally remain concealed from the excluded applicants and the public." According to Robinson, there are circles of "the wealthy elite in
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screen. Nonverbal utterances are not considered words. Characters that are named are also considered speaking characters. Under rare circumstances, a group of nearly identical characters might speak at the same time or sequentially. Given their extremely homogeneous appearance, it is impossible to distinguish these characters from one another. When this occurs, the coders are instructed to "group" the identical characters and code them as one unit." According to
Christina Shu Jien Chong's article in the Asian Pacific American Law Journal, "Whites occupied 83.5% of lead roles while minorities occupied 16.5%; 9.5% Black, 2% Latino, 2.5% Asian, 0.5% Native American, and 2% Mixed/Other." According to Chong, when it comes to casting for major roles, racebending, whitewashing and implicit bias lead to an even more drastic underrepresentation of minorities in the entertainment industry.
295:, stating that she never would have accepted the role if it meant taking it from an Asian actor. Johansson explained how she accepted the part because the main protagonist was female and "having a franchise with a female protagonist driving it is such a rare opportunity." Activists groups, such as the Media Action Network for Asian Americans (MANAA) accused Johansson of lying that she would never portray or attempt to play someone of a different race. Their complaints stemmed from the idea that they believed Hollywood was not allowing Asians to portray Asian characters, and instead, was hiring white actors to take roles that could easily have been portrayed by an Asian actor and actress. Asian actors such as
315:, defended Johansson's casting and even cited the casting being in line with the themes, story, and source material of the book, specifically saying "The Major is a cyborg and her physical form is an entirely assumed one. The name 'Motoko Kusanagi' and her current body are not her original name and body, so there is no basis for saying that an Asian actress must portray her...I believe having Scarlett play Motoko was the best possible casting for this movie. I can only sense a political motive from the people opposing it, and I believe artistic expression must be free from politics."
307:, stated, "Hollywood continues to make the same excuses, that there aren't big enough Asian/Asian American names to open a blockbuster film. Yet it has not developed a farm system where such actors get even third billing in most pictures. Without a conscientious effort, how will anyone ever break through and become familiar enough with audiences so producers will confidently allow them to topline a film? When will we ever break that glass ceiling?" In contrast to the controversy,
25:
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and an overall lack of representation of Asian
Americans, as well as other minorities in the film industry, is not due to lack of minority applicants, but instead due to lack of opportunities for minorities due to a connection-based culture in the entertainment industry created through implicit bias,
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population estimates for July 2016 being "63.3% White, 12.6% Black, 16.2% Hispanic/Latino, 4.9% Asian, 2.1% mixed, 1.0% other." The
University of Southern California report noted that it sampled all "independent speaking character utters one or more discernible and overt words (of any language) on
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Many producers and directors in the film industry believe that it is not racial discrimination that leads to racebending, whitewashing, and an overall lack of minority representation in the film industry. Instead, many credit it to a low number of minority applicants and the lack of funding they
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Chong, Christina, Where are the Asians in
Hollywood? Can §1981, Title VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling? (August 23, 2016). Asian Pacific American Law Journal, Vol. 21, issue 1, p. 29-79 (2016); Univ. of San Francisco Law Research Paper No. 2016-18.
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s Abbey White said in 2016 that the term can apply to actors of color being cast in traditionally white roles. White said, "In the last several years, racebending has become a practice used more and more to help networks diversify their ensembles and capture a bigger audience. Not only has it
192:, which faced a similar whitewashing controversy, "I can't mount a film of this budget, where I have to rely on tax rebates in Spain and say that my lead actor is Muhammad so-and-so from such-and-such. I'm just not going to get it financed. So the question doesn't even come up."
289:, there was fan backlash over the casting as, since the story is located within Japan, it was assumed that the actress to portray the character was meant to be of Japanese descent. Numerous fans signed petitions for a recast. Johansson addressed the issue in an interview with
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report on diversity in entertainment within which 414 stories were sampled, 109 motion pictures and 305 broadcast, cable and digital series, "71.7% were white, 12.2% Black, 5.8% Hispanic/Latino, 5.1% Asian, 2.3% Middle
Eastern and 3.1% other", in contrast to the
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is particularly common and "possesses a long tradition among the industry's most successful and venerated productions. Film history is replete with ignominious examples of white actors portraying characters of color."
425:. She describes how writers can "change the race and cultural specificity of central characters or pull a secondary character of color from the margins, transforming her into the central protagonist."
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argued that they cast actors of other ethnicities as well (Iranians, Spaniards, Arabs, etc.) because
Egyptians have varied ethnicities, and that the audience should not focus on only the white actors.
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with protest mail." However, the cast went unaltered and when production began, the leaders of this protest responded by founding the advocacy group and accompanying website
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claimed, "We would have loved to cast Asians in the lead roles, but the truth is, we didn't have access to any bankable Asian-American actors that we wanted." Furthermore,
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resulted in more racial visibility on the small screen, but in a far more unexpected way, racebending can generate deeper and more significant depictions of characters."
35:
119:(Katara and Sokka) descent, but were played by actors of European descent in the film. The initial protests such as "Saving the World with Postage," were created in a
338:, an African actress residing in England. Fans were displeased with this and called it "blackwashing", citing the books' prior mention of Hermione's skin tone, but
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called for a boycott of the film because they thought it was unfair that the role did not go to an Asian woman. The
Founding President of MANAA,
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164:" whose "implicit biases", covered up by breakdowns, lead to a significant amount of racebending and whitewashing within the film industry.
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and others being cast to play the roles of
Egyptians. In contrast, black actors were only given the roles of slaves and thieves. Director
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1081:"Where are the Asians in Hollywood? Can §1981, Title VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling?"
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624:"Where are the Asians in Hollywood? Can §1981, Title VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling?"
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Russell K. Robinson, Casting and Caste-ing: Reconciling
Artistic Freedom and Antidiscrimination Norms, 95 Cal. L. Rev. (2007)
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website and started a letter-writing campaign. On the other hand, the actors portraying the antagonist characters are mainly
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academic Kristen J. Warner wrote that the term has "many definitions and contexts", from the film industry practice of
883:"Asian American Media Group Accuses Scarlett Johansson of 'Lying' About 'Ghost in the Shell' Whitewashing Controversy"
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would receive if they did cast minorities in lead roles. In response to critic backlash after the release of the film
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Fu, Albert S. (2014). "Fear of a black Spider-Man: racebending and the colour-line in superhero (re)casting".
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was criticized for casting white actors for the leads instead of actors of Iranian or Middle Eastern descent.
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In 2010, Racebending.com and the Media Action Network for Asian Americans, alongside urging boycotts of
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The Fantastic Made Visible Essays on the Adaptation of Science Fiction and Fantasy from Page to Screen
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Lopez, Lori Kido (October 21, 2011). "Fan Activists and the Politics of Race in The Last Airbender".
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In the United States entertainment industry, Christina Shu Jien Chong has stated that racebending,
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Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century
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PSA: Whitewashing A Character Is Different From Michael B. Jordan Being Cast As Johnny Storm
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990:"Denzel Washington's casting as Hannibal in Netflix film sparks race controversy in Tunisia"
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701:"INCLUSION or INVISIBILITY? Comprehensive Annenberg Report on Diversity in Entertainment"
765:"Hollywood whitewash? 'Airbender' and 'Prince of Persia' anger fans with ethnic casting"
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INCLUSION or INVISIBILITY? Comprehensive Annenberg Report on Diversity in Entertainment
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INCLUSION or INVISIBILITY? Comprehensive Annenberg Report on Diversity in Entertainment
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was coined as a term of protest in 2009 as a response to the casting decisions for the
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received significant backlash on social media before its release due to white actors
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831:"Scarlett Johansson finally addresses Ghost in the Shell whitewashing controversy"
670:"Casting and Caste-ing: Reconciling Artistic Freedom and Antidiscrimination Norms"
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950:"Candace Owens: If Black woman can play Anne Boleyn, white man should play Obama"
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by "playfully borrowing the concept of manipulating elements (bending) from the
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Loreck, Janice (February 16, 2018). "Race and stardom in Ghost in the Shell".
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online forum that initially responded to the casting decisions by "inundating
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students who in the film are portrayed mostly by Caucasian actors, producer
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908:"Original Ghost in the Shell director defends Scarlett Johansson casting"
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1185:. Feminist Media Studies. University of Illinois Press. pp. 32–50.
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Drawing New Color Lines: Transnational Asian American Graphic Narratives
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Drawing New Color Lines: Transnational Asian American Graphic Narratives
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719:"People Painted Over: Whitewashing of Minority Actors in Recent Film"
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Hart, William (2015). "Racebending: Race, Adaptation, and the Films
964:"Cleopatra was not Black, Egypt tells Netflix ahead of new series"
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family, as black Africans. Netflix has similarly cast black actor
116:
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100:
1226:. USC Annenberg School for Communication and Journalism, 2016,
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Chu, Monica (2015). "From Fan Activism to Graphic Narrative".
18:
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received an addition to its installment with the stage play
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Race and Ethnicity in the United States - Statistical Atlas
1204:. Routledge Interdisciplinary Perspectives on Literature.
1154:". In Kapell, Matthew Wilhelm; Pilkington, Ace G. (eds.).
1247:, statisticalatlas.com/United-States/Race-and-Ethnicity.
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Race and Popular Fantasy Literature: Habits of Whiteness
739:"'Exodus' racial casting controversy is a familiar one"
43:
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as the lead roles, the artists who had worked on the
1375:
History of racism in the cinema of the United States
1181:and Black Women's Fandom". In Levine, Elana (ed.).
367:provoked controversy after casting black actress
174:, which is based on the true story of a group of
606:. London: Routledge, Taylor & Francis Group.
394:, who was 26 years old at the beginning of the
1341:, which contrasts racebending and whitewashing
206:announced their decision to cast white actors
928:"JK Rowling attacks black Hermione 'racists'"
345:Another example of racebending occurred when
32:The examples and perspective in this article
8:
1035:"5 TV Shows That Benefited from Racebending"
1243:“Race and Ethnicity in the United States.”
1260:"Racebending fandoms and digital futurism"
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591:. Hong Kong University Press. p. 169.
264:as well, due to practices of racebending.
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1062:"Race and Ethnicity in the United States"
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604:The Routledge Companion to Media and Race
549:International Journal of Cultural Studies
349:, who is a black woman, was cast to play
70:Learn how and when to remove this message
371:as the titular character and portraying
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186:claimed, after the release of his film
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330:, it was announced that the character
829:Alexander, Julia (February 9, 2017).
793:Science Fiction Film & Television
668:Robinson, Russell (January 1, 2007).
222:it was based on created an anonymous
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1295:Journal of Graphic Novels and Comics
1079:Chong, Christina (January 1, 2016).
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386:(aged 68) in an upcoming biopic of
261:Prince of Persia: The Sands of Time
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1177:Warner, Kristen J. (2015). "ABC's
1085:Asian Pacific American Law Journal
855:Kennedy, Gerrick D. (April 2017).
699:Smith, Stacy (February 22, 2016).
628:Asian Pacific American Law Journal
285:, a live-action adaptation of the
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1264:Transformative Works and Cultures
1236:https://ssrn.com/abstract=2828261
447:University of Southern California
327:Harry Potter and the Cursed Child
1033:White, Abbey (August 29, 2016).
99:The starring roles of the show (
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881:Ahern, Sarah (March 31, 2017).
602:Campbell, Christopher (2017).
1:
1390:Casting controversies in film
1365:Ethnic and racial stereotypes
1258:Gilliland, Elizabeth (2016).
988:Tondo, Lorenzo (2023-12-11).
469:blackface in contemporary art
452:United States Census Bureau's
275:was cast in the lead role of
1307:10.1080/21504857.2014.994647
413:Usage evolved, and by 2015,
763:Lee, Chris (May 22, 2010).
46:, discuss the issue on the
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1380:Avatar: The Last Airbender
1129:Hong Kong University Press
95:Avatar: The Last Airbender
1395:Employment discrimination
258:, also urged boycotts of
111:) were coded as being of
92:of the television series
1222:Smith, Stacy L., et al.
717:Lowrey, William (2016).
587:Gruenewald, Tim (2015).
561:10.1177/1367877911422862
517:"What is "racebending"?"
1370:Concepts in film theory
930:. BBC News. 5 June 2016
200:After the producers of
151:Reasons for racebending
1360:Cultural appropriation
1329:What is "racebending"?
483:examples of Yellowface
236:Exodus: Gods and Kings
189:Exodus: Gods and Kings
16:Cultural appropriation
1277:10.3983/twc.2016.0702
1200:Young, Helen (2015).
353:, the second wife of
1162:. pp. 207–222.
805:10.3828/sfftv.2018.6
493:Whitewashing in film
445:According to a 2016
144:whitewashing in film
140:Christopher Campbell
52:create a new article
44:improve this article
34:may not represent a
1234:Available at SSRN:
1098:10.5070/P3211031952
641:10.5070/P3211031952
523:. February 23, 2011
488:Color-blind casting
419:color-blind casting
357:and a white woman.
334:would be played by
1331:at Racebending.com
498:Hamilton (musical)
347:Jodie Turner-Smith
311:, director of the
282:Ghost in the Shell
273:Scarlett Johansson
256:The Last Airbender
203:The Last Airbender
1215:978-1-138-85023-1
1192:978-0-252-08108-8
1169:978-0-7864-9619-8
1138:978-988-8139-38-5
1066:Statistical Atlas
913:Independent.co.uk
861:Los Angeles Times
770:Los Angeles Times
384:Denzel Washington
376:Ptolemaic Dynasty
365:"Queen Cleopatra"
318:Conversely, when
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