Analyzing American History X: Racism, Influence, and Critical Thinking

For this assignment, I had to analyze the historical and cultural connections in American History X and examine its rhetorical aspects. To choose this film, I conducted a Facebook poll that included movies I was interested in. Even though I initially preferred The X-Files, American History X was the clear winner. To honor the poll results, I watched American History X years after its 1998 release. When it first came out, I couldn't watch it with my parents because of its violence since I was only 12 years old at the time.

From my vague memories, I knew that American History X dealt with white supremacy and racism, starred Edward Norton, and featured an actor from the first Terminator as his adult brother. It took some time for me to mentally prepare myself for rewatching the film since it required two hours of focused attention.

Justifying my procrastination, one could argue that it ultimately benefitted me. The subsequent class discussions provided a foundation for studying the film.

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After discussing approaching a text organically in class, I decided to adopt this mindset and view the film objectively as a non-objective individual. It is difficult to determine if this approach influenced my findings or if I would have discovered them anyway since it was my second time watching it. It is commonly understood that upon multiple viewings of any film, one notices things initially missed. Regardless, researching the historical context surrounding American History X and the nation during my childhood was eye-opening and enjoyable. This film focuses on a conventional white family in the mid-1990s but highlights the journeys of the two brothers towards maturity.

The film centers around the character Derek, played by Edward Norton, who becomes involved in Neo-Nazi associations. This greatly influences his younger brother Danny, portrayed by Edward Furlong. The story begins with Derek violently killing three young black men who were trying to steal their father's truck. This act stems from his anger over their father's death. As a consequence, Derek is imprisoned for three years while Danny starts following in his brother's footsteps within the Neo-Nazi group.

To convey its message, the film utilizes alternating black-and-white flashbacks and color scenes. The black-and-white scenes represent how Danny perceives Derek's past life and occasionally highlight Derek's personal growth as he overcomes his own hatred. On the other hand, the color scenes depict the present and emphasize how hatred impacts the entire family.

Overall, this film critiques urban racism and bigotry while also exploring how easily young minds can be influenced.

The movie effectively generates sympathy for usually despised characters, specifically Neo-Nazi racist skinheads. Instead of depicting them as ignorant bigots, the film portrays them as misguided individuals. While openly addressing racism, violence, and bigotry, upon closer examination, it conveys a deeper message. Upon revisiting it, I realized that the movie primarily emphasizes the lack of critical thinking skills in young people, especially teenagers and young adults, and their vulnerability to influence. By further exploring the themes of the film, I discovered that it subtly encompasses a type of racism prevalent in many 1990s movies. Consequently, it is clear that contemporary society still struggles with similar issues of racism and intolerance towards differing beliefs.

The civil rights movements have recently shifted their focus towards the gay, lesbian, and transgender community. Their arguments for rights and against discrimination are similar to those made during the 1960s civil rights movement. Reverend Dr. Phil Snider demonstrated this connection in a viral YouTube speech before the Springfield City Council of Missouri. In his clever speech, he used quotes from white preachers who supported racial segregation in the 1950s and 1960s, but replaced certain words with 'gays and lesbians' ("Preacher Phil Snider Gives Interesting Gay Rights Speech"). This twist in his speech highlights the core issues of racism and discrimination, which can also be applied to the racism faced by America in the 1990s.

During the 1990s, racism and affirmative action were widely discussed and covered by the media. Newsweek's 1992 article titled "The Crossroads of Shattered Dreams" summarized the conflicts surrounding racism during that time. The article highlighted white individuals' opposition to affirmative action, arguing it was unfair. In response, black individuals pointed out centuries of slavery and discrimination as reasons for being denied opportunities, which they believed was also unfair. That same year, Rodney King's case verdict sparked outrage in the black community, leading to six days of riots resulting in over 2,000 injuries and 55 deaths. In 1996, three white law school candidates filed a lawsuit called Hopwood v. Texas Law School alleging discriminatory treatment favoring less qualified minority applicants in admissions. Shortly before American History X's release in 1998, California passed Proposition 209 which banned preferential treatment based on race or gender in public sector education, employment, and contracting (Parker).

Much of the discrimination that occurred in the 1990s was shaped by numerous impactful events and others of similar magnitude. Sociological research confirms that discrimination is often unintentional, resulting from organizational practices or predispositions linked to social stereotypes, rather than stemming from individual prejudices (Tomaskovic-Devey). Nonetheless, the accumulation of these incidents led to a demand for Hollywood to feature positive characters of color (Hughey 549). Producers and directors, feeling pressured to make up for their racist filmmaking history, also unintentionally developed a veiled form of racism in films, referred to as "cinethetic racism" by Hughey himself (550).

Cinethetic racism in the 1990s was commonly seen in movies featuring a black character who serves as a support to the white protagonist. Typically referred to as the "magical Negro" by Hughey, this character is portrayed as wise and reasonable, offering selfless assistance to help the white character achieve their goals. According to Hughey, these films depict black characters who have a deep-rooted desire to use their magical powers to correct the injustices in a white-dominated world, rather than striving to improve their own disadvantaged circumstances (Hughey 556). The film American History X exemplifies this concept through the interactions between Derek, the white protagonist, and Lamont, a friendly black prisoner who befriends him while they work together in the prison laundry room. As the story progresses, Derek becomes more open and their future interactions mainly involve Lamont humorously explaining how things operate within the prison environment.

Despite the portrayal of a "magical Negro" character, there is a scene that challenges this concept and instead evokes guilt in Derek. This scene features Lamont and Derek working in the laundry room, where Derek sincerely questions Lamont about his imprisonment. Lamont explains that he was convicted for assaulting a police officer when a TV he was trying to steal accidentally fell on the officer's foot. Initially, Derek resists and playfully presses Lamont for the truth, but Lamont maintains his innocence and insists that he merely dropped the TV on the officer's foot. This turning point in the film demonstrates Derek's guilt and compassion towards a black individual for the first time.

The text suggests that the most crucial scene in the film is when Derek has an epiphany and realizes how he has perpetuated discrimination against black people. This scene provides the desired outcome that the audience wants to see. However, the film quickly reverts back to its traditional racist ways. In Derek's final interaction with Lamont, it is revealed that Lamont protected Derek from further harm whilst in prison, as Derek distanced himself from the Neo-Nazis. This scene further reinforces the concept of the "magical Negro," implying that black people have an inherent desire to serve the needs of white individuals. This idea of racist undertones in cinema can be compared to the subtext of a script as perceived by actors.

The notion of cinethetic racism can be compared to the underlying meaning in a film, typically related to a character's hidden motives. According to Hughey, movies showcasing magical Negro characters unintentionally reinforce white supremacist and normative systems, despite their apparent aim to challenge them. This specific movie seems to adopt an anti-racist position but paradoxically conceals conflicting agendas that contradict its moral message. Similarly, California experienced politically disguised displays of racism during the 1990s, resembling the covert racism commonly found in American films.

In the 1990s, racism and civil rights disputes reached levels comparable to those seen during the civil rights era of the 1960s. Despite affirmative action policies addressing injustices faced by minorities, an economic downturn in California led many white individuals to become less tolerant of preferential treatment given to minorities through these programs (Alvarez). As a result, whites began claiming they were victims of "reverse discrimination." What interests me about "reverse discrimination" is that it assumes discrimination only flows one way, from whites to minorities. It also suggests that some level of racism will always exist and places the responsibility for combating it on the majority—white people.

However, when any type of racism or discrimination is experienced by white individuals, it is considered completely unacceptable and requires political intervention. Advocates of Proposition 209 argued that existing affirmative action initiatives resulted in public employers and universities rejecting applicants based on their race. They believed that Proposition 209 would bring us back to the core principles of democracy. This viewpoint is summarized in an article titled "Prohibition Against Discrimination," which outlines the main arguments supporting Proposition 209.

The article emphasizes the need to avoid perpetuating the misconception that specific groups, known as "minorities" and women, are unable to compete without special advantages. It promotes voting for fairness rather than favoritism. Proposition 209 has generated heated discussion since its introduction in 1997. Nevertheless, I contend that a scene from American History X effectively portrays the mindset of numerous Proposition 209 supporters. In this scene, Derek and his father engage in a conversation during dinner, discussing the literature he is studying for his English class. Subsequently, his father expresses his strong disapproval of such material through a monologue.

"All this stuff about making everything equal... it's not as simple as it appears... you have to replace great books with black books now? You have to question these things, Derek. We are not only discussing books, but also my job. I now have two black guys on my squad who got their jobs over a couple of white guys who actually scored higher on the test. Does that seem reasonable? They got their job because they were black, not because they were the best. America's principle is that if you do your best, you get the job... not this affirmative blacktion crap... it's nigger bullshit."

In this dinner scene, we can see a clear example of two concepts. Firstly, the moment that white individuals sense discrimination, they quickly bring attention to it. Secondly, discrimination is often caused by unintentional effects of organizational practices rather than individual prejudices, as I previously mentioned.

David McKenna, the writer of American History X, incorporated real-life situations into the screenplay. He and Edward Norton even rewrote a part of the script using Governor Pete Wilson's speech advocating Proposition 209 in 1995 as dialogue (Goldstein). In this scene, the character Derek recites the speech while attempting to rally a group of young skinheads before vandalizing a minority-owned grocery store. It is ironic that a racist Neo-Nazi character is quoting words from a speech that supports the removal of affirmative action policies meant to combat discrimination and promote equality. This revelation highlights how closely the movie reflects societal issues of the 1990s. McKenna's use of Wilson's speech serves as an example of art imitating reality but is not his only source of inspiration.

McKenna, a Southern California native who personally witnessed bigotry and racism, aimed to convey in the script that racism is not innate but rather acquired. He sought to accurately portray how children from respectable families can deviate from the right path. In my view, McKenna effectively conveys this message in the film by highlighting the susceptibility of young minds and the impact of societal conditioning.

Within the film, we witness Derek's upbringing and how he becomes affiliated with the Neo-Nazi organization, ultimately impacting his younger brother Danny. The dinner scene described earlier represents a pivotal moment in McKenna's screenplay, demonstrating that racism is a learned behavior resulting from external influences. Nevertheless, the director's original intention was not to convey this message, despite the widespread acclaim and accolades Edward Norton received for his portrayal.

Tony Kaye, the director of American History X, was a major competing persuasive force throughout the entire film making process. Despite this, he battled with directors, producers, writer David McKenna, and even Edward Norton himself. Kaye claimed that New Line Cinema never allowed him to create his vision for the film. In fact, he took out full page ads in trade magazines criticizing the film and even requested his name be replaced with the pseudonym "Humpy Dumpty". Following the film's release, Kaye stated that Norton had edited a majority of the film to increase his own screen time. He also alleged that the producers did not allow him the opportunity to present a black voice for depth and balance in the film. Ultimately, Kaye wanted the film to be a tribute to free speech and responsibility.

The reason why Kaye's original vision did not make it into the film was because it clashed with McKenna's original message. McKenna wrote the film based on his personal experience of witnessing racism in Southern California in the late 1980s and early 1990s. Kaye, on the other hand, grew up in the United Kingdom and had only been living in the United States for a few years before getting involved in the film. Therefore, their outlooks for the script were different (Topel).

It should be acknowledged that this marked Kaye's inaugural feature film, having primarily directed TV commercials and music videos (Goldstein). Although McKenna may not have been directly involved in the actual filming, as is typical for writers, Edward Norton and the producers embraced and adhered to McKenna's vision as it resonated with the challenges America was grappling with during that period. This is not to imply that Kaye's vision for the film was incorrect, but rather that producers must take into account audience desires and expectations.

Through my study of American History X, I have discovered the peculiar evolution of racism. Over the past 150 years, racism, particularly towards black individuals, has become less accepted by white people. Despite this shift, certain segments of society have found ways to retain a subtle yet undeniable level of racism. As expressions of racism such as lynching became socially unacceptable, these individuals adapted their methods to continue perpetuating racism. While progress has been made in combating racism and discrimination in the past six decades, it is clear that it has not been completely eradicated. In fact, some argue that white individuals are now facing a form of "reverse discrimination" due to unforeseen consequences arising from affirmative action programs.

Regarding American films, it would be necessary to directly speak with the directors and producers of 1990s films in order to ascertain whether these magical Negro characters were intentionally created to perpetuate racism. However, it is highly improbable that someone would openly confess to such intentions. Personally, I believe that cinethetic racism and the appearance of the magical Negro were unintended outcomes resulting from a prevailing trend in Hollywood during that period. This trend involved black individuals portraying qualities of wisdom and possessing "magical powers" in films.

It is intriguing to note that a movie like America History X meets the criteria for cinethetic racism. In my perspective, this film, intended to shed light on the issue of racism in America, paradoxically perpetuates a concealed form of it. Thus, it exemplifies cinethetic racism flawlessly. The debate of whether reality mirrors art or if art mirrors reality is as exasperating as the chicken-egg conundrum. However, in the case of this film, I argue that American History X, as art, reflects reality. Surprisingly, the concept of cinethetic racism and the portrayal of the "magical Negro" align perfectly with the arguments for Proposition 209 and Gov. Pete Wilson’s speech. The resemblance between both reveals a subtle form of racism disguised as white individuals aiding minorities. Essentially, art imitated the covert racism prevalent in reality.

I believe it is unfortunate for director Tony Kaye, as an actor myself, that he was unable to bring his original vision of the film to fruition. Due to the numerous racially charged events happening in the 1990s, a movie focused on freedom of speech regarding racism was probably not something audiences wanted to see in theaters. Nevertheless, the film did an excellent job portraying historical events and cultural attitudes of that time, even if it may inadvertently perpetuate racism at a subtle level.

Works Cited

The movie "American History X" directed by Tony Kaye and starring Edward Norton and Edward Furlong was released in 1998 by New Line Cinemas. A research paper titled "The Revolution Against Affirmative Action in California: Racism, Economics, and Proposition 209" written by R. Michael Alvarez and Lisa G. Bedolla was published in the State Politics and Policy Quarterly journal in 2004. The paper can be accessed online through Sage Publications, Inc and was retrieved on October 21, 2012.

Bruce, David. "Racism in America=Hating Others." American History X: A Hollywood Jesus Film Review. HollywoodJesus.com, n. d. Web. Web. 21 Oct. 2012.

Goldstein, Patrick. "Courting Trouble." Edward Norton Information Page. N.p., 13 1998. Web. Web. 21 Oct. 2012.

"Hopwood v. University of Texas Law School". Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2012. Web. 21 Oct. 2012.

Hughey, Matthew W. "White Redemption and Black Stereotypes in "Magical Negro" Films." Social Problems 56.3 (2009): 543-77. www.jstor.org. University of California Press, 2009. Web. 21 Oct. 2012. . Leinberger, Gisela. "Film Director Tony Kaye Makes Statement at Berlin's Brandenberg Gate; Director of 'American History X' Speaks to Film's Issues." PR News Wire. N.p., n. d. Web. Web. 21 Oct. 2012. . Parker, Beth H. "The Impact of Proposition 209 on Education, Employment and Contracting." ERA: Prop 209 Impact. Equal Rights Advocates, n.d. Web. 22 Oct. 2012. . Preacher Phil Snider Gives Interesting Gay Rights Speech. Perf. Rev. Dr. Phil Snider. Www.YouTube.com. YouTube, 13 Aug. 2012. Web. 21 Oct. 2012. . "Prohibition Against Discrimination or Preferential Treatment by State and Other Public Entities. Initiative Constitutional Amendment.." California's 1996 General Election Web Site! . N.p., n. d. Web. Web. 21 Oct. 2012. “Riots erupt in Los Angeles.” 2012. The History Channel website. Oct 21 2012 . Tomaskovic-Devey, Donald, and Patricia Warren. "Explaining and Eliminating Racial Profiling." Contexts. American Sociological Association, 2009. Web. 21 Oct. 2012.

Topel, Fred. “Interview with Lake of Fire Filmmaker Tony Kaye.” About.com Oct 21 2012.
Whitaker, Mark. "A Crisis Of Shattered Dreams." Newsweek. 5 1991: 1. Web. 19 Oct. 2012..