The film Body and Soul, released in 1925 by African American filmmaker Oscar Micheaux, was met with criticism because of its negative portrayal of its African American characters. Was Oscar Micheaux truly racist against his own kind or is there another reason for which he presented negative images of African Americans in his film Body and Soul?

Citation:

Bowser, Pearl and Louis Spence. "Oscar Micheaux's Body and Soul and the Burden of Representation" Cinema Journal 39.3 (2000): 3-29.

Content and Relevance of Work:

Pearl Bowser and Louis Spence's article, "Oscar Micheaux's Body and Soul and the Burden of Representation", looks at Micheaux's unflattering representations of black people in the film Body and Soul and their effect on what was, for the most part, a disapproving black community. Bowser and Spence view Micheaux's film as an attempt at exposing black realities. However, it was clear that many people in the 1920's did not want to see blacks portrayed in this negative or downtrodden light. Many critics denounced Micheaux's film because it did not provide blacks with a character of color on the screen who they could emulate and feel proud of. Bowser and Spence explain how other black filmmakers of the time were producing films with larger-than-life representations of black protagonists. Micheaux's Body and Soul, however, challenges the authority of its protagonist black preacher and depicts the various class conflicts even within black society. Bowser and Spence make sure to point out that not all aspects of the black characters are shown in a negative light either. For example, the laundress Sister Martha Jane in Body and Soul is shown as hard-working. In the end it seems that Bowser and Spence's underlying argument is that in the film Body and Soul Micheaux was trying to expose the truth of an African American class structure that was becoming more and more stratified. In order to do this, they contend, he had to portray all facets of black society, both good and bad. This article is extremely relevant to the question at hand in that it addresses the film directly and provides a distinct reason for why Micheaux felt the need to display negative images of black people on screen. First of all, it must be noted that not all black characters and not all aspects of the black characters were actually negative. Secondly, Micheaux saw the necessity for showing these negative images in order to address the class divisions within black society. Thus, in the eyes of Bowser and Spence, Micheaux's motives were not entirely racial; he was concerned with the internal divisions in black communities and was not racist against his own kind.

Citation:

Allmendinger, Blake. "The Plow and the Pen: The Pioneering Adventures of Oscar Micheaux" American Literature 75.3 (2003): 545-569.

Content and Relevance of Work:

Blake Allmendinger elects to analyze Micheaux's written works as opposed to his films in his article titled "The Plow and the Pen: The Pioneering Adventures of Oscar Micheaux". However, this is still very relevant to the question I have posed because a look at his portrayal of black people in his writings may help us understand Micheaux's representation of blacks in his film, Body and Soul. Allmendinger's focus, in particular, is on three of Micheaux's novels which he believes form a trilogy: The Conquest, The Homesteader and The Wind from Nowhere. Allmendinger argues that historians and critics have focused too much on Micheaux the filmmaker and allotted an inadequate amount of research and time to study of Micheaux the author. He contends that Micheaux's partially autobiographical novels reveal the most about his personal beliefs and ideas. Allmendinger puts a lot of stock in what he dubs Micheaux's "double consciousness"; this was a contradiction between black reality and fantasy in which Micheaux knew that people of his race could achieve economic success but were, in essence, hindered by the white man's underestimation of black potential. Allmendinger alludes to this as he points out the contrast between Micheaux's first book of the trilogy, The Conquest, and the other two books, The Homesteader and The Wind from Nowhere. The former refutes the notion that blacks can achieve the American dream and the latter two run counter to this and provide black protagonists who lift themselves up and become heroes who realize freedom. The difference between the two storylines possibly runs the gamut between reality and fantasy. Allmendinger also points out that Micheaux's alter egos, the protagonists of these novels, exhibit contempt for blacks who do not work diligently and attempt to rise above racial bounds. This could correspond to Micheaux's film Body and Soul and the characters he presents there. The negative images he provides in Body and Soul may be similar to the blacks in these novels who he appears to disdain for their lack of effort to overcome racial tensions. It is clear that Almendinger's analysis of Micheaux's writings proves very useful in understanding Micheaux's view of blacks and concomitant presentation of blacks in films such as Body and Soul.

Citation:

Regester, Charlene. "The Misreading and Rereading of African American Filmmaker Oscar Micheaux: A Critical Review of Micheaux Scholarship" Film History 7.4 (1995): 426-449.

Content and Relevance of Work:

In her article titled "The Misreading and Rereading of African American Filmmaker Oscar Micheaux: A Critical Review of Micheaux Scholarship", Charlene Regester provides an account of the ways in which Micheaux's films and literary works have been interpreted over the years. She starts with the period before the 1970s and works through the decades of the 1970s, 1980s and 1990s. In the process she demonstrates an increasing awareness and appreciation for Micheaux's work by scholars and film historians. By the 1990s, she contends, Micheaux had correctly taken his place as a crucial part of black film history. Although it does mention the film Body and Soul briefly in some examples, this article does not expressly focus on the film. However, this article proves very useful to our investigation in that it provides varying interpretations by a range of scholars who were trying to analyze Micheaux's role as a filmmaker and his motives and goals within his films. By reading different scholars' views of Micheaux's films and their role as racial commentaries will provide us with good jumping-off-points for understand Micheaux's controversial Body and Soul. Before the 1970s, for example, Regester explains how scholars believed that Micheaux distrusted many people in society such as ministers and demonstrated this distrust in his films. This could help us understand Micheaux's negative depiction of the Reverend Jenkins in Body and Soul. According to Regester, critics before 1970 also condemned Micheaux for compromising his own identity in favor of white values in order to create successful films and make more money. This could be another plausible reason for Micheaux's negative depictions of blacks in his film Body and Soul; perhaps he was simply an opportunist, appealing to a white audience that would sell more tickets. In the 1970s, there was continued criticism of Micheaux's films for perpetuating demeaning images of blacks by whites. However, by the 1990s, Regester shows us that interpretations of Micheaux's films had shifted and it became more accepted that Micheaux should be commended for his portrayal of blacks in his films because they heightened racial tensions and increased audience awareness of race-related issues. These diverse interpretations are very useful in offering conceivable reasons for why Micheaux presented negative images of blacks in his film, Body and Soul.

Citation:

Hooks, Bell. "Micheaux: Celebrating Blackness" Black American Literature Forum 25.2 (1991): 351-360.

Content and Relevance of Work:

Bell Hooks' article, "Micheaux: Celebrating Blackness", explores the way in which Micheaux used his films to challenge conventional racist representations of blacks. She contends that Micheaux, however, was not interested in simply responding to racist white films by portraying positive images of blacks; he wanted to portray blacks as complex characters defined by their experiences and their emotions and not by their color. Hooks focuses on another one of Micheaux's films called Ten Minutes to Live. She argues that in the film nothing is as simplistic as it may appear in everyday life and that perceptions can easily be manipulated. By exaggerating these complex images of black people and black society Micheaux was able to provoke his audience and make people reevaluate the way in which they approached race and color. The result in Hooks' mind is a celebration of blackness. Although this article focuses on another one of Micheaux's films Ten Minutes to Live, it nevertheless provides an original opinion on Micheaux's complex representations of blacks in his films and thus a possible manner in which to approach Micheaux's other film, Body and Soul. Bell Hooks' would most likely argue that Micheaux was anything but racist against his own kind in creating films such as Body and Soul. On the contrary, he promoted black pride and wanted society to view black men and women as multifaceted beings who should not be restrained by the color of their skin. Hooks' article can help explain why Micheaux refrained from presenting blatantly positive images of blacks in his film Body and Soul; it was more important to Micheaux to portray blacks as intricate characters who could be both good and bad depending on their experiences and feelings. Micheaux saw race as playing little role in a person's proclivity for being good or bad and wanted to convey this in films such as Body and Soul. Hence, the existence of negative images as well as positive images of blacks in the film.

Citation:

Bilwakesh, Nikhil. "Alias Jeremiah: Oscar Micheaux's pathetic preachers." West Virginia University Philiological Papers Vol.15 (2003) .

Content and Relevance of Work:

In Nikhil Bilwakesh's article, "Alias Jeremiah: Oscar Micheaux's Pathetic Preachers", he delves into the illustration of preachers in Micheaux's early novels as well as his two early films: Within Our Gates and Body and Soul. Bilwakesh also analyzes Micheaux's integrationist philosophy in terms of racial superiority. His argument in the article is to demonstrate two of Micheaux's goals in films such as Body and Soul: First, to portray preachers as beings who should be sympathized with because they have fallen to corruption due to unfortunate circumstances. Second, to show the merits of racial integration. He focuses on the Reverend Jenkins character in Body and Soul, claiming that the Reverend is presented in a negative light in order to elicit sympathy from the viewer because black preachers such as Jenkins are vulnerable to the "traps of corruption". Bilwakesh points to Jenkins' alcoholism and solitary drinking as ways in which Micheaux conveys the misery of the preacher. Although Bilwakesh is focusing on the religious connotations of Micheaux's film, in doing so he also addresses the question of why Micheaux presents negative images of blacks in the film. It could be that Micheaux presents these negative images of black characters such as the stereotypical black Reverend Jenkins in order to convey their pathetic and thus sympathetic sides. Bilwakesh's discussion of Micheaux's integrationist theory is also relevant to the investigation. He points to the superiority of "mulattoes" in Micheaux's films and how these characters are almost always the "healthiest and sanest" and most "positive characters". The negative characters, Bilwakesh claims, are usually presented as either dark black or starkly white, such as the preacher and the white racist mobs in Body and Soul. Bilwakesh sees this positive representation of people of mixed-race as Micheaux's attempt at destroying stereotypes from white films such as Birth of a Nation. This emphasis on Micheaux's integrationist philosophy is also very relevant to the posed question and almost leans toward the argument that Micheaux was somewhat racist against his own kind and saw superiority in a mixed race.

Citation:

Green, Ronald J. "Oscar Micheaux's Interrogation of Caricature as Entertainment." Film Quarterly 51.3 (1998): 16-31.

Content and Relevance of Work:

In the article titled "Oscar Micheaux's Interrogation of Caricature as Entertainment" Ronald J. Green takes a look at Oscar Micheaux's response to negative stereotypes and images of blacks in early white films. Green explains how most black directors responded by creating films that portrayed positive images of blacks in society. However, although Micheaux like the other directors saw caricatures and stereotypes as barriers to black people's individuality and emancipation, he believed that he would be most effective in his films if used these same caricatures of blacks and simply exaggerated them to the point where he would be mocking their existence in white films. Thus, he would be using negative stereotypes in his own films with the purpose of criticizing them. Green describes the ‘ABAB' character method used by Micheaux as a specific way in which he used caricatures to critique a class-based society. His films would have ‘A' characters and ‘B' characters: The ‘A' characters would represent black middle-class legitimacy while the ‘B' characters were supposed to symbolize illegitimate black caricatures such as "coons". Green uses the preacher played by Paul Robeson in Body and Soul as an example of a ‘B' character. Green recognizes that Micheaux's use of negative images of blacks in his films such as Body and Soul can create the sensation that Micheaux was racist against his own kind. However, Green's argument is that Micheaux was not trying to further degrade his own kind; he was attempting to draw on existing stereotypes in order to criticize their place in society. Thus, this article is very relevant to the analysis of whether or not Micheaux is using the film Body and Soul to present a negative image of blacks with the purpose of criticizing their place in society. Green analyzes the role of black caricatures in Micheaux's films and even uses Body and Soul as an example. Green's article can be seen as a counterargument to the idea that Micheaux was racist against his own kind and so is a valuable source in the investigation of the presentation of blacks in Micheaux's Body and Soul.

Citation:

Musser, Charles. "To Redream the Dreams of White Playwrights: Reappropriation and Resistance in Oscar Micheaux's Body and Soul" Yale Journal of Criticism 12.2 (1999): 321-356.

Content and Relevance of Work:

In his article, "To Redream the Dreams of White Playwrights: Reappropriation and Resistance in Oscar Micheaux's Body and Soul", Charles Musser analyzes the origins of the film and, more importantly for this investigation, the message that Micheaux was trying to get across through the film. Much of the article focuses on how Micheaux adapted the film from plays made by whites about black life. Musser performs an extensive analysis and demonstrates how much of Body and Soul is derived from the two plays Roseanne and The Emperor Jones. It appears that Musser's overarching goal in revealing these connections is to assert that Micheaux was "reappropriating" these plays: he was pulling from the original white plays in order to create a black critique of white racial ideology and white views of blacks through false stereotypes. Musser also emphasizes dreams and reality in Micheaux's Body and Soul. He believes that Micheaux used dreams in this film to convey the nightmare that blacks live every day because of racism in American society. Micheaux used Martha Jane's unrelenting dream state in order to frustrate blacks into wanting her to awake from fantasy and confront reality. He hoped that this would translate to the viewer's own life and cause blacks to want a change. Musser presents Micheaux as a daring filmmaker who was willing to put his job on the line and offend people in order to address the issue of racism that he felt was most important. This very much relates to the question of why Micheaux used negative images of blacks in Body and Soul. It seems that Musser would argue that Micheaux was simply taking stereotypical interpretations of blacks conjured up by whites, as demonstrated in white plays, and emphasizing them with the purpose of showing blacks how whites looked down on them. Thus, according to Musser, these negative images of blacks were replicated by Micheaux in his film Body and Soul in order to elicit a response in black audiences who were disturbed by this negative representation of their kind, causing them to confront racism.

Citation:

Wiesenfeld, Judith. "For the Cause of Mankind: The Bible, Racial Uplift and Early Race Movies." African Americans and the Bible. Ed. Vincent L. Wimbush and Rosamond C. Rodman. New York: Continuum International Publishing Group, 2001. 728-740.

Content and Relevance of Work:

In her article "For the Cause of Mankind: The Bible, Racial Uplift and Early Race Movies" found in the book African Americans and the Bible, Judith Wiesenfeld explores both the prevalence of religious themes in early black films and the ways in which early black filmmakers attempted to respond to D.W. Griffith's negative representation of blacks in his film Birth of a Nation. Wiesenfeld first analyzes Birth of a Nation which she sees to be the catalyst for much of early black film as it denigrated blacks and promoted a racist ideology. She then explores the overall ineffectiveness of the initial response by blacks embodied in the film Birth of a Race which attempted to use the Bible to emphasize equality. The rest of her essay focuses on the methods of one particular black filmmaker, Oscar Micheaux, and his creation of films such as Within Our Gates and Body and Soul to respond to widespread racism against blacks in white films. Wiesenfeld takes a look at Body and Soul and demonstrates how Micheaux depicted blacks as thinking members of complex communities which varied according to class, education, religion and politics. She emphasizes this "complex" image of blacks which Micheaux chose to present instead of a deliberately positive one. Wiesenfeld also comments on Micheaux's use of religion and the Bible in Body and Soul to accentuate black rights and equality. Wiesenfeld's essay is extremely relevant to the investigation in that she explores directly the absence of a positive representation of blacks in Micheaux's Body and Soul. Nevertheless, she makes clear that Micheaux made his film as a response to racism in order to demonstrate the misunderstood complexity of blacks and their inherent claim to equal humanity. She would also argue that religion and the Bible were important concepts used by Micheaux to convey the equality deserved by all human beings. From this article I would assume that Wiesenfeld would reject the notion that Micheaux was racist against his own kind in creating films such as Body and Soul.

Citation:

Friendly, David T. "Guild Will Honor Pioneer Black Film Director" Los Angeles Times 17 May 1986, natl.

Content and Relevance of Work:

David T. Friendly's article, "Guild Will Honor Pioneer Black Film Director", ran in the Los Angeles Times on the 17^th of May, 1986. The point of the article was to report a recent development in the film industry: the Directors Guild of America would be presenting Micheaux with a lifetime achievement award for his work as a prolific director. The article continues by pointing out that up until this point little if any attention had been devoted by film scholars to Micheaux's achievements as a director. Thus, the rest of the article is Friendly's attempt to clarify Micheaux's work and place in history for the uninformed reader. Friendly's presentation of Micheaux's place in history proves helpful in understanding whether or not Micheaux was truly racist against his own kind. The article paints a picture of Micheaux as a proud black who created films to counter white, racist stereotypes. Friendly even uses Body and Soul as an example of a film, like all of Micheaux's films, that was "warmly received by black audiences." He also points out how Micheaux's films always portray the black man as the hero who comes out on top. Micheaux is also applauded in the article for creating films that countered white Hollywood in their respective casts; Micheaux used light-skinned black actors to play white characters whereas white Hollywood painted white actors to play black characters. The article presents Micheaux as a symbol of black pride and a proponent of black rights. Thus, Friendly's interpretation of Micheaux's films such as Body and Soul is that he was anything but racist against his own kind and actually presented positive images of blacks for black audiences to emulate. This article is very useful for our investigation but also lacks the depth required to understand Micheaux's reason for using negative images of blacks in Body and Soul. In fact, Friendly does not acknowledge Micheaux's negative representations of blacks at all.

Citation:

Green, Ronald J. "Body and Soul" With a Crooked Stick: The Films of Oscar Micheaux. Bloomington: Indiana University Press, 2004. 66-96.

Content and Relevance of Work:

Ronald J. Green's chapter titled "Body and Soul" in his book With a Crooked Stick: The Films of Oscar Micheaux gives a detailed synopsis of the film as well as a breakdown of several themes central to the film's message. Green's underlying argument throughout the chapter is that the good Paul Robeson character, Sylvester, is the hero of the film with whom the audience is meant to return to reality identifying with. One of Green's initial points is that not all characters in the film are presented negatively. However, he admits that it is clear that the more negative characters such as Reverend Jenkins and the confused Martha Jane definitely receive more screen time than the more positive characters such as Isabelle and Sylvester. Green demonstrates how the majority of the film takes place in Martha Jane's nightmare fantasy in which her daughter is raped by the evil Reverend Jenkins character. In reality, however, Green points out how the film ends with Isabelle marrying the good inventor, Sylvester. Green seems to be implying that Micheaux wants to show the audience that negative white images of blacks are merely fantasies that blacks must not get caught up in. Isabelle represents the next generation of African Americans and thus her decision to marry the good Sylvester represents hope for black communities. Green's chapter is very significant to our investigation because of the chapter's sole focus on Body and Soul as well as Green's attempt to understand Micheaux's use of both negative and positive representations of blacks. Green sees Micheaux's film as both staying true to harsh black realities but also defining the possibility of a positive road ahead for blacks to achieve the American Dream. Green's analysis of the film's plot and characters also provides very useful information toward understanding Body and Soul and Micheaux's underlying goals for directing the film.