Abstract
The presence of racial stereotypes has transcended from its overt nature to a more covert existence within society, films in particular. “The Hunger Games (2012)” serves as a piece of mainstream media that depicts the seemingly inevitable class struggle between the upper and the lower class in what we view as the post postmodernity epoch. “The Hunger Games (2012)” is centered on 12 lower class districts and the capital (upper class). Annually, a male and female tribute (representative) between the ages of 12 and 18 are selected to represent each district in the hunger games. These games consist of the 24 participants fighting to the death resulting in only one victor. In Marxian terms, this incongruous battle serves as (1) entertainment for the bourgeoisie and (2) punishment for the past revolt by the proletariat. This film gives us a palpable representation of class conflict and exploitation within advanced societies, specifically regarding race.
Katniss Everdeen, a white female from one of the districts, volunteers for the games to alleviate her younger sister from this monstrous task. Katniss was taken to the capital where she (1) partook in a parade and interviews to gain support and approval from the residents of the capital and (2) trained and developed strategy to prepare for the game. Katniss during her time at the capital encountered her stylist Cinna, Rue a female competitor, and Thresh a male competitor. Each of these characters played a pivotal role in Katniss’s success. An amending of a rule allowed two victors and Katniss became one.
Critical race theorists such as Matthew W. Hughey and Cerise L. Glenn have incorporated this notion of “magical Negro” as a paradigm in which to view films. “These magical negros generally focus their ability towards assisting their white counterparts” (Glenn, 2009: 143-144). Within the concept of magical Negro, we see and conceptualize black characters serving as constructors of white survival and normality. The magical Negro plays the role traditionally performed by blacks, which is to ensure the existence of the “white man”. This, in turn, leaves the Negro without an intrinsic desire to help himself. “Magical Negro films thus function to marginalize black agency, empower normalized and hegemonic forms of whiteness, and glorify powerful black characters in so long as they are placed in racially subservient positions” (Hughey, 2009: 543).
The task now becomes to bring light to the idea that “The Hunger Games” incorporates this notion of magical Negro. Katniss has three magical Negroes at her disposal throughout the film. The first we will discuss is Cinna who serves as her stylist. This potentially deliberate act of casting a black male as Katniss's stylist comes with racist ramifications. Cinna says, “I’m here to serve you in any way possible” upon first meeting Katniss. Katniss’s mentor (white male) did not give himself fully to her as Cinna did. Her mentor maintained individuality and gave in to his intrinsic needs (drinking). However, Cinna served an altruistic purpose that solely entailed assisting Katniss in her survival. The magical Negro role rest on this idea that “whites” have everything they need to succeed intrinsically. The role of the magical Negro is to bring the inner ability out of them. Cinna helped Katniss look inside herself and realize her innate white potential.
The next magical Negro Katniss encountered was Rue, a 12-year-old black girl (the youngest competitor in the games). During the games, Katniss was forced into a tree by other competitors attempting to kill her. Katniss’s death seemed inevitable until Rue comes. Rue instructs Katniss to cut down a branch that was holding a wasp nest. The wasps attacked the other competitors and subsequently freed Katniss from danger. However, Katniss was stung herself and became unconscious for a few days. Rue nursed and protected Katniss during her unconscious state. When Katniss becomes well, she and Rue devise a plan to destroy the supplies of the other competitors. However, Rue is killed in the process. Rue’s entire existence in the movie was to ensure the safety of Katniss. Rue’s death is pivotal because it illuminates the barbaric conditions the capital has imposed upon a child for mere entertainment. Rue fulfilled the “magical Negro” function by sustaining the life of the white character, but did not have the ability to safeguard her right to life.
The third magical Negro Katniss encounter was Thresh. Thresh was a strong black male with the physical capability of winning the competition. Thresh saved Katniss as she was about to be killed by another competitor. He killed the competitor and left Katniss to herself. However, Thresh dies soon after saving Katniss. Thresh’s minimum time with Katniss was solely for her benefit and assured that she survived. Thresh was given the capacity to prohibit the death of Katniss but not the aptitude to protect himself. The white competitors competed to live, while blacks fought to ensure white survival.
This film excelled in depicting the class struggle between the bourgeoisie and the proletariat. It illuminates the normative structure of post postmodern societies that allows immense class differences in relation to quality of life. Also, the film serves a role of recreating the magical Negro. This continuation of the magical Negro demonstrates the lack of “black genealogical” (West 1993) understanding film makers have, which is a representation of the collective culture of our milieu. It becomes hard to conceptualize blacks independent of helping whites and film illuminates this phenomenon.