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Bamboozled
In Forgeries of Memory & Meaning: Blacks and the Regimes of Race in American Theater and Film Before World War II, Cedric J. Robinson posits that white individuals and industries seized the opportunity to exploit Blacks in cinema, not simply because of the social interest in these peoples, but also because of its potential financial success. While there is a history of racially influenced films being successful for high-profile investors who were not necessarily found in the entertainment industry, Spike Lee demonstrates that the elements of African-American society that were exploited in film in the past can also be exploited in the present. In Lee's Bamboozled, he explores how Blacks and their culture have been seen as a means of making money.
While Robinson contends, "With so much invested in the Black representations by anthropologists…and hawkers.at the 1893 Chicago World's Fair (and elsewhere) what was there not to like…when [Biograph] weighed...
Robinson appears to be pointing to the fact that the attention garnered by anthropologists and pop culture -- the hawkers -- were one of the reasons that minstrel/black-face films were so popular. While Lee has intended for Bamboozled to be satirical, it appears as though he has not strayed too far from the directors, studios, and investors that sought to exploit Black culture for profit. Lee uses the weight his name carries and his position within the Black community and in the entertainment industry to create a film that is more offensive than satirical or allows him to provide social commentary.
Like Robinson's observation that "one film company after another rushed into the business of producing Black caricatures," so has Lee rushed into creating another film that aims to demonstrate how Blacks are more than "degraded Black significations." In Bamboozled, Lee creates caricatures of the images he wishes to uphold and the images he…
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