The Help and Formation

Film poster ‘The Help’ and ‘Formation’ by Beyoncé portray key representations that both adhere to and defeat stereotypes. The representations conveyed in both texts are fascinating.

Firstly, the representations of black women in ‘The Help’ is a key element due to the connotations of slavery and post-colonisation. The poster hugely promotes binary opposition between the servants and the two white characters. While the servants function is to ‘serve’ their white superiors, the function of the white masters is to exploit the servants and use them to their own advantage. This reinforces Gilroy’s post-colonial theory as audiences are also forced to see the servants as ‘other’ and inferior. The links to slavery are also prominent in the poster and are highlighted by the representations. During the era of slavery, black people were ceaselessly made to perform laborious tasks and were hideously oppressed. This is, to a degree, reflected in the poster in relation to the role of the servants and how they have to endure hard labour. The servants are black and female determining the degree of oppression that would be inflicted upon them. This idea of intersectionality is highlighted by bell hooks. Thus, binary opposition is also illustrated by the body language and position of each character. While the servants are positioned together, emphasising a sense of unity, the white characters are separated from the servants and from each other possibly foreshadowing conflict or disagreement. The servants are engaged in their own conversation portraying the ‘change’ that may occur beginning with a ‘whisper’. The sense of unity and strength the black servants have here is likely to be a factor that resolves any disequilibrium in the narrative. The white characters may look to the servants and be inspired by their resilience. The clothes of the characters reinforce binary opposition in relation to class. The white characters will certainly be of a higher class, presented through their lavish dresses and make-up, while the servants are made to wear a uniform, conveying their lack of identity and possibly importance.

Furthermore, the representation of women in the poster is interesting. The women are either affiliated with their beauty or with domestic duties. This is quite a negative portrayal of women as it depicts them to be passive members of society. These stereotypes and ideals of femininity have been cultivated over long periods of time. A post-feminist reading of this text may raise concerns as women appear to be indoctrinated with strict hegemonic ideologies in relation to the duties of a woman. Emma Stone, who is in the centre of the poster, doesn’t fall prey to this idea suggesting her to be the protagonist of the movie. The movie, however, is likely to be set in the mid 1900’s, highlighted by the clothing, and may therefore be raising awareness about the implications of segregation and how discrimination led to such ill-treatment of the black community.

Additionally, Beyonce’s ‘Formation’ has a riveting narrative due to the various readings that emit both shock and a sense of empowerment to the audiences.

Like ‘The Help, there are several references to slavery in ‘Formation’ which are likely to shock an audience. Beyonce, throughout the video, frequently wears an antebellum dress which has many connotations of black oppression, confinement and struggle. A preferred reading of the video, which is likely to be a post-feminist reading, suggests that Beyonce is re-appropriating the associations of the antebellum with conventions such as power and strength. This parallels Barthes ‘myths’ as Beyonce has taken the antebellum away from its original context and created whole new conventions and interpretations. This is a different representation to ‘The Help’ as the black servants on the poster are represented to play an expected role that doesn’t defy any conventions.

Consequently, Strauss’ binary opposition is also prevalent in ‘Formation’. This is between the police force and the black community. Beyoncé is clearly attacking the police force for their incompetence and negligence towards black individuals. This is related to hurricane Katrina and other brutal atrocities that targeted black people. The video features a young boy dancing in front of a ‘Formation’ of police with a corresponding message saying ‘stop shooting us’. The message may be trying to reinforce the idea that the black community are innocent victims of police brutality due to the colour of their skin. The video later develops to show the police officers putting their hands up and surrendering to their discretions. This is a powerful image as it defies common associations society has with the police, which involves security and protection, and create different ‘myths’ as to what and who the police actually stand for.

Moreover, the representation of women differs in 'Formation' in comparison to 'The Help'. Beyonce, as well as her dancers, wear clothing that reveals a lot of her body voluntarily objectifying herself to a voyeuristic audience. This is dissimilar to 'The Help' as all women cover their bodies to an extent and don't disregard any social norms. Van Zoonen would argue that the 'display of women's bodies, as objects to be looked at, is a core element of western patriarchal society'. This is reflective through Beyonce's revealing clothing and sensual dances/lyrics. Contrarily, a post-feminist reading of this would say that objectification is a one way process as the viewer may consciously objectify the star text even though this would not be the intention of the star. Beyonce should be able to wear what she desires as a strong black female without the accusation that she is objectifying herself. This is indicative of the idea that 'feminism is a struggle to end sexist/patriarchal oppression and the ideology of domination' (hooks). Although Beyonce is black and female, she refuses to let stereotypes determine a negative outcome in life.   

To conclude, 'Formation' and 'The Help' portray contrasting representations of the black community. A  preferred reading of 'Formation' suggests that Beyonce is attacking the police force and re-appropriating the image of the antebellum and a preferred reading of 'The Help' forces audiences to see traditional stereotypes of black women matching the perception of the white characters in the movie.