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Cross-Cultural Spectators: Examining the Representation and Development of Black Female Protagonists on the Big Screen

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Title: Cross-Cultural Spectators: Examining the Representation and Development of Black Female Protagonists on the Big Screen
Language: English
Authors: Josie L. Andrews (ORCID 0000-0001-6702-0071), Adam L. McClain (ORCID 0009-0002-7388-4292)
Source: Adult Education Quarterly: A Journal of Research and Theory. 2025 75(2):113-131.
Availability: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
Peer Reviewed: Y
Page Count: 19
Publication Date: 2025
Document Type: Journal Articles
Reports - Research
Education Level: Adult Education
Higher Education
Postsecondary Education
Descriptors: African Americans, Females, Literary Devices, Films, Adult Education, Higher Education, Adult Development
DOI: 10.1177/07417136241287507
ISSN: 0741-7136
1552-3047
Abstract: Historically, the representation of Black women in film has been non-existent at worst and highly questionable at best. As cross-cultural spectators--"a Black woman and a White man"--we used an oppositional gaze to critically "look" at the representation and adult development of Black female protagonists across U.S. films. Based on a critical visual methodology of 12 U.S. films, four themes emerged - #noBlackgirlmagic, transition from object-to-subject, the lies (you) tell, and hair it is. The implications for adult and higher education are discussed based on the findings.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1475719
Database: ERIC
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  Value: <anid>AN0186281167;adq01may.25;2025Jul02.01:55;v2.2.500</anid> <title id="AN0186281167-1">Cross-Cultural Spectators: Examining the Representation and Development of Black Female Protagonists on the Big Screen </title> <p>Historically, the representation of Black women in film has been non-existent at worst and highly questionable at best. As cross-cultural spectators— a Black woman and a White man —we used an oppositional gaze to critically "look" at the representation and adult development of Black female protagonists across U.S. films. Based on a critical visual methodology of 12 U.S. films, four themes emerged - #noBlackgirlmagic, transition from object-to-subject, the lies (you) tell, and hair it is. The implications for adult and higher education are discussed based on the findings.</p> <p>Keywords: Black women; protagonists; U.S. films; representation; adult development</p> <p>Humans are obsessed with storytelling, and the U.S. media and entertainment industry accommodates our obsession by providing boundless entertainment across mass media, including film. As one of the significant forms of storytelling, film is consumed daily by individuals across the globe. Films often shape and reinforce cultural beliefs and attitudes about dominant and minority groups. Since minority groups, notably Black women, often lack representation on the Big Screen, it is often the beliefs and values of whiteness and patriarchy that are marketed and projected across our television screens and mobile devices (hooks 1992/[<reflink idref="bib20" id="ref1">20</reflink>]). These perceptions are subliminal socialization that is constantly perpetuating dominant ideologies and marginalized statuses (hooks 1992/[<reflink idref="bib20" id="ref2">20</reflink>]). For example, U.S. film consistently reduces Black female characters to caricatures and racist images, which frequently minimizes or ignores their developmental journeys of self-actualization. As cross-cultural spectators—Black woman and White man—we examined the depiction and adult development of Black women's characters in U.S. films. The guided questions were:</p> <p></p> <ulist> <item> In what ways are Black women depicted in U.S. films?</item> <p></p> <item> How are Black female characters' adult development influenced in U.S. films?</item> </ulist> <p>We identified four salient themes: #noBlackgirlmagic, transition from object-to-subject, hair it is, and the lies (you) tell. Implications for practice and future research for adult and higher education educators are shared.</p> <hd id="AN0186281167-2">Significance of Oppositional Gaze in Adult Education</hd> <p>In this study on Black women in U.S. films, we took a critical gaze. hooks (1992/[<reflink idref="bib20" id="ref3">20</reflink>]) refers to this as an oppositional gaze that is characterized as a "site of resistance" in which spectators critically <emph>look</emph> at the "negation of Black representation" in mass media, such as film ([<reflink idref="bib19" id="ref4">19</reflink>], p. 117). Our main objective was to <emph>look</emph> critically at images, differences, gaps, and connections that continue to reinforce ideologies of domination and stereotypes of Black women. Moving beyond our oppositional gaze of Black women in film, we argue two important points. First, engaging in an oppositional gaze can be a starting point for shifting from a passive consumer to a critical interrogator of dominant ideologies. Second, adult education has the potential to be a space where adult learners can challenge, question, and resist the dominant ideologies, assumptions, and practices that perpetuate inequality and marginalization. Adult education literature does not use the term oppositional gaze; its <emph>site of resistance</emph> to media is rooted in critical thinking and pedagogies ([<reflink idref="bib19" id="ref5">19</reflink>]).</p> <p>In adult education, critical thinking is fundamental and entails the assessment of assumptions, beliefs, and actions for informed decision-making and resistance to manipulation. [<reflink idref="bib5" id="ref6">5</reflink>] underscores its significance for adult learners, noting that insufficient critical thinking can result in poor decisions and increased susceptibility. The real power of critical thinking lies in its ability to link personal ideas and experiences with wider social concerns ([<reflink idref="bib30" id="ref7">30</reflink>]). Critical thinking is an essential tool for individual and collective liberation, empowering individuals, particularly those from marginalized communities, to question dominant cultural norms and ideologies, thus challenging oppressive systems ([<reflink idref="bib18" id="ref8">18</reflink>]).</p> <p>Incorporating a critical/oppositional gaze in adult education allows educators to foster an environment where learners can deeply analyze social issues like media underrepresentation (hooks, 1992/[<reflink idref="bib20" id="ref9">20</reflink>]). An oppositional gaze encourages the exploration of diverse narratives and equips learners with the skills and knowledge essential for personal growth and collective change. [<reflink idref="bib15" id="ref10">15</reflink>] advocate for this method as it cultivates an emancipatory and empowering pedagogy dedicated to driving social transformation.</p> <hd id="AN0186281167-3">Researchers' Positionalities</hd> <p>As cross-cultural spectators—Black woman and White man—we understood how our positionalities would impact our research process, particularly our unique stance as spectators of Black women in film. We briefly describe our positionalities.</p> <hd id="AN0186281167-4">Josie</hd> <p>As a Black girl, going to the theater was not a pastime that my single mother considered a good investment of my time or her money. So, I would babysit to earn money if I wanted to go to the movies. I grew up in a small rural-ish city in Alabama, where we had and still do have one operating theater, although much larger. For me, going to the movies was a space of escapism. Honestly, I never had any expectations of seeing Black women/girls in movies, let alone seeing accurate portrayals of our Black womanhood. Yet, in those coming-of-age years, I was aware that we were depicted <emph>differently</emph> than White women/girls. It would take me years to become familiar with the concept and practice of cinematic-gendered racism.</p> <p>Since then, I have emerged as a critical spectator to examine whiteness and patriarchy in film, notably regarding Black women/girls' bodies. I make two assumptions: (<reflink idref="bib1" id="ref11">1</reflink>) whiteness in film romanticizes the purity and innocence of White women/girls, and (<reflink idref="bib2" id="ref12">2</reflink>) patriarchy pushes the narrative that Black women/girls are objects for gazing and abusing. In society and, by extension, film, our subjectivities and complexities of our interlocking identities are frequently minimized, if not completely ignored. Understanding the historical and cultural landscapes of U.S. film, the primary objective of this scholarship was to stare into the abyss and critically analyze how being Black and woman are depicted in U.S. film.</p> <hd id="AN0186281167-5">Adam</hd> <p>As a young White man from a middle-class background, raised in a small Indiana town during the '80s and '90s, my childhood was full of memories of years visiting the town square theater and enjoying family movie nights. Whether packing into the family vehicle, heading to the drive-in, or lounging in the living room in front of the big screen TV with the VHS player, movies were an important form of entertainment and togetherness. I loved going to the movie rental store, walking the shelves, looking for the newest title, and being either met with sadness or excitement based on its availability. This passion grew throughout the years, visiting the different chain and family-owned movie rental stores in the towns where I lived.</p> <p>During my undergraduate years, I was confronted with my naiveness and need for more critical awareness of the popular narratives within films. I never fully realized until then that the world is vastly different from what is on the screen. Through my engagement in adult education, contemporary film has become an essential tool to enhance my learning of others, insights, life's dilemmas, growth, and development.</p> <hd id="AN0186281167-6">Literature Review</hd> <p></p> <hd id="AN0186281167-7">U.S. Film</hd> <p>In 1891, Thomas Edison introduced the concept of a motion picture through a kinetoscope, a one-person viewing device, or peephole ([<reflink idref="bib39" id="ref13">39</reflink>]). By 1895, the Lumière brothers transformed Edison's technology and aired the first motion picture to a mass audience in Paris ([<reflink idref="bib39" id="ref14">39</reflink>]). While numerous nations made their presence known during the rise of the film industry, the U.S. became the leader of the international film industry during World War I ([<reflink idref="bib39" id="ref15">39</reflink>]). Statistical data continue to show its dominance in the international film industry.</p> <p>In 2022, the U.S. generated the largest media and entertainment (M&E) industry revenue, with more than $660 billion of the $2 trillion global market ([<reflink idref="bib46" id="ref16">46</reflink>]). It includes multiple industry subsectors, such as film, television, video games, streaming content, music and audio recordings, broadcast, and radio. [<reflink idref="bib42" id="ref17">42</reflink>] reported Walt Disney, Warner Brothers, and Sony Pictures as the Big Three U.S. movie distributors in 2022. The report showed that they represented nearly 45% of shares in the global market and generated over $110 billion in revenue from worldwide box offices. Despite these post-pandemic numbers, M&E leaders are taking tactical action to recalibrate their business and financial models to achieve ambitious growth campaigns and position their organizations for future success ([<reflink idref="bib16" id="ref18">16</reflink>]).</p> <p>Unfortunately, M&E leaders are not taking the same ambitious steps to tackle the unrelenting inequities, particularly in film. In a recent McKinsey & Company report, [<reflink idref="bib12" id="ref19">12</reflink>] suggested that if its film sector aggressively addressed <emph>just</emph> the racial inequities, it could realize another $10 billion in revenue gain. The report revealed two aggressive steps: closing the representation gap for Black behind-the-camera talent (e.g., directors, writers, producers) and funding more Black-led, notably Black women-led films.</p> <hd id="AN0186281167-8">Black Women in U.S. Film</hd> <p>As a sociocultural artifact, film mirrors society's thoughts, attitudes, and behaviors, particularly against Black women (hooks, [<reflink idref="bib19" id="ref20">19</reflink>], 1992/[<reflink idref="bib20" id="ref21">20</reflink>], [<reflink idref="bib17" id="ref22">17</reflink>]). Historically, the representation of Black women in film has been nonexistent at worst and highly questionable at best. Black women were seldom cast in films and often pigeonholed as caricatures or what Collins (1991/[<reflink idref="bib9" id="ref23">9</reflink>]) describes as <emph>controlling images</emph> such as mammy, welfare queen, sapphire, and jezebel. Collins argues that these and other controlling images have been designed to normalize social injustices (e.g., racism, sexism, classism) as inevitable parts of daily life.</p> <p>The colonizing image of mammy is exemplified within the novel and film <emph>Gone with the Wind</emph>, which depicts a Black female character as a domestic worker who is overweight, dark-skinned, obedient, unthreatening, and asexual (Collins, 1991/[<reflink idref="bib9" id="ref24">9</reflink>]). The caricature of the welfare queen portrays Black women as bad and lazy mothers who are content with living off the generosity of the system ([<reflink idref="bib4" id="ref25">4</reflink>]). During his political career, former U.S. President Ronald Reagan perpetuated this moniker to implore racial stereotypes against single Black mothers and rally support for reform of the welfare system ([<reflink idref="bib4" id="ref26">4</reflink>]). The sapphire image arose from the Black female character, Sapphire Stevens, from the <emph>Amos 'n' Andy</emph> radio show ([<reflink idref="bib40" id="ref27">40</reflink>]), in which she was depicted as loud, animated, and domineering. Over the years, this controlling image has manifested into the 'angry Black woman' caricature. The Jezebel stereotype is another demeaning portrayal of Black women, depicting them as sexually assertive. This characterization provides a pretext for White men to use and objectify Black women, leading to their dehumanization and sexual exploitation (Collins, 1991/[<reflink idref="bib9" id="ref28">9</reflink>]; hooks, [<reflink idref="bib19" id="ref29">19</reflink>]).</p> <p>[<reflink idref="bib27" id="ref30">27</reflink>] highlighted similar findings in their study of Black female leads and coleads in family films. Revealing that Black female characters were about four times as likely to be depicted as not working than their White female counterparts, 39.6% and 10.4%, respectively. Another finding unveiled that Black women (13.5%) were more sexualized than White women (9%). In addition, Black women were depicted as being less attractive than White women (41.4% compared to 51.2%). Also, nearly 17% of the White female leads in family films were shown as being less promiscuous than Black female leads (13.3%). While Black women are being negatively portrayed in Hollywood, mainly by White men, Black folks are also writing, directing, producing, and marketing similar caricatures of Black womanhood (hooks, [<reflink idref="bib19" id="ref31">19</reflink>], 1992/[<reflink idref="bib20" id="ref32">20</reflink>], 1995). Although these stereotypes can be entertaining, educational, and even skillfully performed by phenomenal actresses, we maintain that they often marginalize the humanity and dignity of Black women, preserve an ideological justification of oppression, and normalize entrenched cultural beliefs and attitudes.</p> <p>Optimistically, [<reflink idref="bib27" id="ref33">27</reflink>] highlighted that nearly 8% of the Black female characters were less likely to be represented as being employed in a service job, a normalized racial depiction, than White female characters (15.2%). Also, Black female characters (54%) in family films were more likely to be shown as <emph>smart</emph> than White (44%) and other female characters of color (43%). Furthermore, Black women were more likely to be depicted as working in a STEM occupation than White women (14.3% and 9.6%, respectively). While the roles for and depictions of Black women have progressed in quantity and quality, White and Black films routinely fail to represent Black female characters as multidimensional, particularly as they relate to the intersection of social identities, social context, and adult development.</p> <hd id="AN0186281167-9">Adult Development in Film</hd> <p>Adult development is commonly associated with change and growth, which is influenced by both internal and external factors ([<reflink idref="bib29" id="ref34">29</reflink>]). It is a dynamic process that involves increasing complexity and the development of meaning-making and reasoning abilities in adults ([<reflink idref="bib30" id="ref35">30</reflink>]). The learning that occurs during adult development encompasses psychological and educational processes, where individuals acquire new knowledge and skills through their lived experiences, potentially leading to self-change ([<reflink idref="bib3" id="ref36">3</reflink>]; [<reflink idref="bib26" id="ref37">26</reflink>]). Over the years, the evolving view of adult development has prompted significant research on film and popular culture's role in adult education ([<reflink idref="bib24" id="ref38">24</reflink>]). [<reflink idref="bib49" id="ref39">49</reflink>] explored how film fosters critical pedagogy, encouraging deeper understanding and diverse interpretations. [<reflink idref="bib38" id="ref40">38</reflink>] stressed popular culture's significance in adult learning, tied to learners' identities. Additionally, [<reflink idref="bib45" id="ref41">45</reflink>] investigated the insights adult educators and learners gained from character portrayals in film and television, further illustrating the intersection between media and adult education. However, a gap remains in depicting Black women's developmental learning in cinema.</p> <p>Black women have intersecting identities ([<reflink idref="bib47" id="ref42">47</reflink>]), yet the film industry and its filmmakers and/or writers fail to accurately reflect the complexity and diversity of their experiences ([<reflink idref="bib20" id="ref43">20</reflink>], [<reflink idref="bib17" id="ref44">17</reflink>]; [<reflink idref="bib43" id="ref45">43</reflink>]). [<reflink idref="bib23" id="ref46">23</reflink>] reminds us that Black experiences are distinctively unique to Black people, so those experiences "must be dealt with if a reasonably accurate picture of Black adult development is to be drawn" (p. xi). Therefore, we uphold three potent points. First, the lack of diverse and nuanced representations of Black female characters in films marginalizes or ignores their adult development and learning. Additionally, the lack of complexity in film continues to perpetuate superficial and stereotypical depictions that fail to capture the multidimensional experiences, oppositions, and growth faced by Black female characters. Finally, the lack of nuance misrepresents their portrayal, limiting multiple anecdotes and depriving spectators of the opportunity to learn from and connect with the rich journey of their characters.</p> <hd id="AN0186281167-10">Research Design</hd> <p></p> <hd id="AN0186281167-11">Theoretical Framework</hd> <p>Drawing from the scholarship of Collins (1991/[<reflink idref="bib9" id="ref47">9</reflink>]), the following highlights five key tenets of Black feminist thought (BFT) that served as our blueprint to critically gaze at Black women's representation and developmental milestones in U.S. films. First, BFT emphasizes intersectionality and acknowledges that Black women's identities are an interlocking nature of oppression that cannot be understood through the either-or fallacy. Next, BFT seeks to center and prioritize Black women's experiences, voices, and perspectives. It challenges the dominant narratives that often overlook or marginalize their experiences. Third, it challenges dominant ideologies and power structures by critiquing existing societal norms and seeking to disrupt and reshape them to create a more just and equitable world. Fourth, BFT rejects the monolithic portrayal of Black women and recognizes their agency, complexity, and diversity. Lastly, it emphasizes the importance of building and sustaining coalitions, recognizing the power of collective action and collaboration in effecting change.</p> <hd id="AN0186281167-12">Data Collection</hd> <p>To examine depictions of adult development for Black women in U.S. films, we set four criteria: (<reflink idref="bib1" id="ref48">1</reflink>) U.S. film with Black female protagonists, (<reflink idref="bib2" id="ref49">2</reflink>) release years, (<reflink idref="bib3" id="ref50">3</reflink>) adult development, and (<reflink idref="bib4" id="ref51">4</reflink>) films of choice. The first criterion was based on our interest in analyzing U.S. films that included Black women cast as the leading or coleading characters. It yielded a total of 61 items. Next, the inclusion criteria included U.S. films with Black female protagonists released from 2010 to 2020; 54 items remained. Then, adult development criterion was selected due to our interest in analyzing the changes and complexities of the Black female protagonists in adulthood, which yielded 23 films. Our final criterion, the films of choice, emphasized "insight, discovery, and interpretation rather than hypothesis testing" ([<reflink idref="bib28" id="ref52">28</reflink>], p. 42). Furthermore, they were selected because of the researcher's heightened awareness and acknowledgment of the impact of sociocultural factors on the development and learning of Black women in cinema. Based on the inclusion criteria, 12 U.S. films with Black female protagonists became the dataset. Table 1 provides data compilation from the Internet Movie Database ([<reflink idref="bib21" id="ref53">21</reflink>]), "the world's most popular and authoritative source" about movies and TV shows (para. 1). While beyond the scope of this analysis, it is important to note the representation of Black women directing and writing these films. Black women represented only 25% of the directors, while Black men represented 67%. For writers, Black women accounted for 30%, which is less than Black men (35%), but more than White women (13%), and White men (22%).</p> <p>Table 1. U.S. Films with Black Female Protagonists, IMDb (n = 12).</p> <p>Graph</p> <p> <ephtml> <table><colgroup><col align="left" /><col align="left" /><col align="left" /><col align="left" /><col align="left" /></colgroup><thead><tr><th align="left">Film</th><th align="left">Release Year</th><th align="left">Running Time (mins)</th><th align="left">Director (RaceGender)</th><th align="left">Writer (RaceGender)</th></tr></thead><tbody><tr><td>For Colored Girls</td><td>2010</td><td>134</td><td>Tyler Perry (BM)</td><td>Tyler Perry (BM), Ntozake Shange (BF)</td></tr><tr><td>Pariah</td><td>2011</td><td>86</td><td>Dee Rees (BF)</td><td>Dee Ress (BF)</td></tr><tr><td>Sparkle</td><td>2012</td><td>116</td><td>Salim Akil (BM)</td><td>Mara Brock Akil (BF), Joel Schumacher (WM), Howard Roseman (WM)</td></tr><tr><td>1982</td><td>2013</td><td>90</td><td>Tommy Oliver (BM)</td><td>Tommy Oliver (BM)</td></tr><tr><td>Dear White People</td><td>2014</td><td>108</td><td>Justin Simien (BM)</td><td>Justin Simien (BM)</td></tr><tr><td>Almost Christmas</td><td>2016</td><td>111</td><td>David E. Talbert (BM)</td><td>David E. Talbert (BM)</td></tr><tr><td>Girls' Trip</td><td>2017</td><td>122</td><td>Malcolm D. Lee (BM)</td><td>Erica Rivinoja (WF), Kenya Barris (BM), Tracy Oliver (BF)</td></tr><tr><td>Widows</td><td>2018</td><td>129</td><td>Steve McQueen (BM)</td><td>Gillian Flynn (WF), Steve McQueen (BM), Lynda La Plante (WF)</td></tr><tr><td>Queen & Slim</td><td>2019</td><td>132</td><td>Malcolm D. Lee (BM)</td><td>Lena Waithe (BF), James Frey (WM)</td></tr><tr><td>What Men Want</td><td>2019</td><td>123</td><td>Adam Shankman (WM)</td><td>Tina Gordon (BF), Peter Huyck (WM), Alex Gregory (WM)</td></tr><tr><td>The Forty-Year-Old Version</td><td>2020</td><td>123</td><td>Radha Blank (BF)</td><td>Radha Blank (BF)</td></tr><tr><td>Ma Rainey's Black Bottom</td><td>2020</td><td>94</td><td>George C. Wolfe (BM)</td><td>Ruben Santiago-Hudson (BM), August Wilson (BM)</td></tr><tr><td /><td /><td><bold>Total - 1,362</bold></td><td /><td /></tr></tbody></table> </ephtml> </p> <hd id="AN0186281167-13">Data Analysis</hd> <p>We adopted [<reflink idref="bib36" id="ref54">36</reflink>] critical visual methodology to critically gaze at the portrayal of, stereotypical imagery of, and dominant ideologies about Black female protagonists in 12 U.S. films. [<reflink idref="bib36" id="ref55">36</reflink>] three critical elements included: (<reflink idref="bib1" id="ref56">1</reflink>) rigorously examining the creation, presentation, and consumption of images; (<reflink idref="bib2" id="ref57">2</reflink>) understanding that images convey and influence cultural and social norms; and (<reflink idref="bib3" id="ref58">3</reflink>) reflecting on the process of viewing and interpreting these images. Element 1, we attained a deeper and more insightful interaction with the data by immersing ourselves in and (re) familiarizing ourselves with the films. Table 1 shows that the total running time for the 12 films was 1362 min. However, our individual and collective observations exceeded 4100 min (68 h). Element 2, we independently reviewed each film using DVDs and multiple streaming services. These platforms allowed us to play, replay, and pause the films while documenting the cultural constructions of the Black female protagonists' roles, experiences, and appearances. Element 3, we met to review our observation notes to identify themes in relationship to our research questions and theoretical framework. Initially, six themes emerged. Next, themes were refined and merged with related themes, yielding four themes that we named, defined, and identified examples to support the interpretation process.</p> <hd id="AN0186281167-14">Findings</hd> <p>This study critically "looked" at the depictions and adult development of Black women's characters in U.S. films. Using a critical visual methodology, four themes emerged across the Black female protagonists' stories: #noblackgirlmagic, transitioning from object-to-subject, the lies (you) tell, and hair it is.</p> <hd id="AN0186281167-15">#NoBlackgirlmagic</hd> <p>#NoBlackgirlmagic describes the problematic ideology that Black women are mythical beings who are indestructible under life challenges. In this oppositional gaze, several Black female protagonists played quality roles, including being educated, hard-working, respectable, independent, financially stable, and working in male-dominated organizations. However, narratives focused on their hyperhumanization abilities to be resistant, gritty, brave, and persistent when faced with personal, professional, and societal stress–related situations. These depictions signify the supernatural phenomenon—Black Girl Magic, in which Black women and girls are celebrated for their magical abilities to handle unusual amounts of suffering or overachievement ([<reflink idref="bib34" id="ref59">34</reflink>]).</p> <p>The Black Girl Magic phenomenon, which included the Strong Black Woman and Superwoman mentality, was prevalent in this analysis. For instance, in <emph>Girls' Trip</emph>, Ryan was shown as being mythical because she can juggle a thriving partnership, marriage, touring, and friendships without appearing stressed or burned out. In <emph>What Men Want</emph>, Ali portrayed a superhuman character because she navigated through a White male-dominated workplace as the token Black female sports agent and handled the strain of invisibility and hypervisibility. In <emph>Widows</emph>, Veronica demonstrated mystifying powers because she was able to repress the grief of her deceased husband to choreograph a multiple million-dollar heist. In <emph>Ma Rainey's Black Bottom</emph>, Ma was perceived as a Superwoman because she is unapologetic about how she self-defined her sexuality and artistic abilities. Crystal, in <emph>For Colored Girls</emph>, was depicted as supernatural because she rose through the ashes of domestic violence and the brutal murder of her two children at the hands of their abusive father. In <emph>Dear White People</emph>, Samantha was depicted as possessing a magical presence as an activist because she dedicated her time and effort to educating her White peers on living a life oblivious to their whiteness and privilege.</p> <p>The Black Girl Magic mentality is an empowering narrative that recognizes the resilience, strength, and accomplishments of Black women ([<reflink idref="bib35" id="ref60">35</reflink>]). It can serve as a positive influence during the developmental stages into adulthood by providing strong role models and encouraging pride in one's identity. As a double-edged sword, it requires Black women to magically manifest strength and suppress emotions in the face of adversities ([<reflink idref="bib35" id="ref61">35</reflink>]). Furthermore, it normalizes the trope that Black women have "thicker skin" than their counterparts; therefore, they are less disposed to pain, mistreatment, and rejection ([<reflink idref="bib37" id="ref62">37</reflink>]). Literature suggests that the Black Girl Magic mentality contributes to Black women's mental health and health disparities (e.g., [<reflink idref="bib35" id="ref63">35</reflink>]).</p> <hd id="AN0186281167-16">Transitioning from Object-to-Subject</hd> <p>Centrality or sense of self is perceived through the dichotomy—object vs subject ([<reflink idref="bib2" id="ref64">2</reflink>]). Normalizing objects is an exclusionary instrument that depicts an individual or group as inferior or Other ([<reflink idref="bib1" id="ref65">1</reflink>]). In this study, a majority of the Black female protagonists are portrayed as an object or commodity. In <emph>The Forty-Year-Old Version</emph>, Rhada was seen as the "White gaze's eroticism of Black pain" because of her fear of failure as a playwright. Yasmine, from <emph>For Colored Girls</emph>, was sexually objectified through a Black male's gaze. He utilized sexual violence to not only satisfy his desire but to dehumanize and disregard Yasmine.</p> <p>As a part of this cultural criticism, an unexpected pattern emerged: the depiction of Black female protagonists as self-sacrificing objects within their fractured familial settings. The narrative of <emph>Pariah</emph> introduces us to Alika, whose existence was a tapestry woven from the threads of racial, gender, and sexual orientation. As an outsider in her own home, she suppressed her lesbian identity to be accepted by her authoritarian and God-fearing matriarch. Alika's transition from object-to-subject emerged through her acts of defining and valuing the image of self, which was a practice of resisting the dominant ideologies of Black womanhood, notably sexual orientation. Alika defined and valued herself through oppositional knowledge, such as education and poetry, and loving her parents, specifically her mother, from arm's length.</p> <p>Sparkle, from <emph>Sparkle</emph>, was also depicted as an object or "other" within her dysfunctional family. Sparkle is portrayed as a gifted songwriter and singer who consistently undervalued herself to gain the love and acceptance of her traditionalist church-going mother. Within the dynamics of their family's musical ensemble, Sparkle willingly faded into the background to let her older, charismatic, and seductive sister take center stage. Sparkle's path to self-actualization and subjectivity was through her music, faith, encouragement of external support systems, and eventual insistence on setting familial boundaries.</p> <hd id="AN0186281167-17">Hair It Is</hd> <p>The theme, Hair It Is, centers on hair representation. Many Black female protagonists had Eurocentric hair, which is typically lengthy and straight. European ideals of beauty have been weaponized against Black women to reinforce inferiority and equate Black hair, in its natural condition, as unprofessional ([<reflink idref="bib11" id="ref66">11</reflink>]). With this in mind, some Black women may assimilate by bleaching and using hazardous straightening chemicals on their natural hair to survive in White-dominant spaces. This study revealed that Black female protagonists with professional occupations were more likely to be depicted with Eurocentric hair than those who did not have a professional job. In <emph>Almost Christmas</emph>, Cheryl is a physician who wears a synthetic straight-ish wig. In <emph>For Colored Girls</emph>, Jo is a magazine editor with straight hair. Ali, from <emph>What Men Want</emph>, is a sports agent with a shoulder-length bob haircut with straight/waved hair. In <emph>Girls' Trip</emph>, Ryan is an author and motivational speaker with semi-long straight hair extensions.</p> <p>Our oppositional gaze discovered that films that did depict Black female protagonists with natural and protective styles were more likely to have Black female directors or writers. For example, in the films <emph>Queen & Slim</emph> and <emph>Widows</emph>, Queen and Veronica wore teeny-weeny afros. Alika, from <emph>Pariah</emph>, rocked tight twists. In <emph>Almost Christmas</emph>, Rachel represented a box-braid protective hairstyle. In <emph>The Forty-Year-Old Version</emph>, Radha paid homage to her African culture by styling head wraps to protect her natural hair.</p> <p>We also gazed at the European standard of beauty regarding skin color. For Black Americans, implicit and explicit biases toward lighter-skinned individuals are embedded in U.S. slavery ([<reflink idref="bib33" id="ref67">33</reflink>]). As a social construct, skin complexion often dictated enslaved people's responsibilities, educational opportunities, and land ownership ([<reflink idref="bib33" id="ref68">33</reflink>]). This slavery mentality continues to live in U.S. film. In <emph>Dear White People</emph>, Samantha's character experienced white-passing privilege because of her lighter skin tone. While this societal privilege afforded her certain advantages, it also subjected her to objectification and exploitation, in which others equated her complexion and hair to Eurocentric beauty standards.</p> <p>On an optimistic note, this study illuminated that the Black female protagonists presented light, medium, and dark skin tones. Using [<reflink idref="bib32" id="ref69">32</reflink>] Skin Tone Scale, we concluded that Black women were nearly three times as likely to represent dark-skinned complexion as their light-skinned sisters (56% compared to 20%). Twenty-four percent of the Black female protagonists represented a medium skin tone. Two dark-skinned Black female actresses portrayed protagonists in two separate films. However, our finding remains consistent—filmmakers and/or writers minimized the practice of colorism among the Black female protagonists in our dataset.</p> <hd id="AN0186281167-18">The Lies (You) Tell</hd> <p>The theme, the lies (you) tell, disrupts the traditional adult development theories that are often rooted in a White, male-centric perspective and imply that development in adulthood is linear and/or an individual progression ([<reflink idref="bib1" id="ref70">1</reflink>]; [<reflink idref="bib29" id="ref71">29</reflink>]). In <emph>What Men Want</emph>, Ali's character development is framed within [<reflink idref="bib13" id="ref72">13</reflink>] stages of development, showcasing her as she navigates and overcomes various life crises. This traditional framework accentuates Ali's psychological evolution and romanticizes the developmental journey as a neatly defined progression, thereby minimizing or entirely overlooking the complexities of her development concerning her cultural, gender, and racial identity. In <emph>1982</emph>, Shenae grappled with drug dependency; however, minimal screen time rendered her character's development invisible to spectators. Shenae's struggle with drug addiction was shown as nonessential when compared to her husband's challenges of dealing with her addiction and supporting their daughter.</p> <p>In contrast, several filmmakers and writers were more holistically aware of the developmental milestones of the Black female protagonists. These narratives integrated social, cultural, personal, spiritual, and psychological dimensions of their growth, offering a more nuanced and comprehensive portrayal of their journeys. In <emph>For Colored Girls</emph>, the narrative reaches a profound turning point as the Black female characters establish a <emph>sistahood</emph>, unveiling their suffering and pain, often attributed to unhealthy relationships. This <emph>sistahood</emph> accentuates the critical role of interpersonal relationships and support systems in healing and growth. Diverging from the traditional progression of developmental theories, this film captures the Black female characters' complexities of adult development, acknowledging that it was socially constructed through experiences and social identities ([<reflink idref="bib1" id="ref73">1</reflink>]; [<reflink idref="bib44" id="ref74">44</reflink>]; [<reflink idref="bib47" id="ref75">47</reflink>]).</p> <p>Additionally, Rhada's development in <emph>The-Forty-Year-Old Version</emph> portrayed a Black woman stuck within a midlife crisis in which she felt like a forgotten playwright, questioned her role as an educator, and was grieving the death of her mother. These experiences led Radha to embark on a journey to reclaim her voice as an artist by rebranding herself as a rapper. It is her impromptu freestyle at the end of her opening night play, which demonstrated her strength to confront the "White gaze's eroticism of Black pain," redefined her Blackness and womanhood, and reclaimed her voice through artistic expression (e.g., music and art). Like previous studies (e.g., [<reflink idref="bib47" id="ref76">47</reflink>]), our gaze revealed that Black women's developmental milestones also encompass spirituality and the role of the Black community. In <emph>Queen & Slim</emph>, Queen's identity and psychological development included individual progression, cultural and political authority struggles, family, connections with the Black community, and spirituality.</p> <hd id="AN0186281167-19">Reflections: Cross-Cultural Spectators</hd> <p>As cross-cultural spectators—a Black woman and a White man, we watched the same films differently. Our experiences, societal norms, and historical context influenced how we perceived and engaged with the cinematic content. We both enjoy films, but something about this type of gaze took away from our enjoyment. It became our job to dismantle the films. As we dissected the films and the characters, we each exposed layers that were unique to our intersectionality. This aspect was intriguing, for it prompted a need for further discussion and analysis. Whether in a classroom setting or casual conversation, the goal was not merely to understand the film but to approach it as cross-cultural spectators, dissecting its elements and then reconstructing them together in a new light. We share our reflections on our unique insights and interpretations of the films.</p> <hd id="AN0186281167-20">Josie</hd> <p>As a Black female spectator, I was more than proud to see individuals who looked like me, being represented as protagonists in these films. Sadly, my experience was compromised by the interlocking nature of -isms within the films (e.g., racism, classism, sexism, hairism). Unlike my White male coauthor, I did not have the privilege of detaching myself from the images within the films. I had a personal connection and empathetic responses to the Black female characters because of our shared gendered racial identity. Furthermore, I was more inept in recognizing stereotypes and judging whether situations, dialogues, or behaviors felt true-to-life based on my own experiences or those within the Black community. For me, these images continued to promote a form of exaggerated visibility, implying that the Black women were visible as the main characters, but stereotypes and objectification often overshadowed their roles. The influence of these representations is enduring, affecting the way we are perceived and how dominant cultures react to and appreciate us, Big Screen or not.</p> <p>My special insight—Black and woman—did afford me the luxury of disseminating my truth and reality to my coauthor, which could not be acquired through observations. In my opinion, our uncensored dialogue allowed us to have a candid exchange of perspectives, experiences, and insights that may not always be openly discussed. This open and honest dialogue sheds light on the complexities and nuances of representation in media, illuminating issues of stereotypes, biases, and systemic inequalities. By engaging in such conversations, we had an opportunity to deepen our understanding and challenge our assumptions. Our positionalities, cultural backgrounds, and societal privileges differ; however, we approached this project and discussions with empathy, openness, and a willingness to listen to and learn from each other's perspectives.</p> <hd id="AN0186281167-21">Adam</hd> <p>From my vantage point as a White man, my initial viewing of these films was primarily shaped by my experiences and worldview. I approached them with a sense of neutrality, unaware of the layers of meaning and significance they held for my Black female coauthor. While I may have recognized the diversity of representation on screen early on, I failed to fully grasp the nuanced ways in which these portrayals intersected with issues of race, gender, and identity. Unbeknownst to me, the images and narratives presented in the films carried a weight of historical and cultural baggage that I, as a White man, did not inherently carry. I could watch these stories unfold without feeling personally implicated or marginalized by the stereotypes and biases they perpetuated. This detachment shielded me from understanding the impact of these representations on individuals who do not share my privileged position in society.</p> <p>My viewing was subjective; I studied the characters within each film, enjoying exploring lives and events different from mine. As I delved deeper, I realized how much I did not understand. Despite watching with detachment, I could not fully grasp the cultural nuances depicted on screen. My coauthor and I engaged in discussions exploring the distinctions between race and culture, shedding light on nuances not readily apparent from watching a film. Reflecting on these conversations, I recognize the limitations of my perspective and the importance of engaging in meaningful dialogue to understand better diverse experiences portrayed in cinema. Ultimately, these discussions enriched my understanding of the impact of representation, challenged harmful stereotypes, and allowed the analysis of the films to be enjoyable.</p> <hd id="AN0186281167-22">Implications for Adult and Higher Education</hd> <p>The characterization of Black womanhood in films has been disturbing and degrading, both in White and Black films. The matter extends beyond merely critiquing the status quo; it involves urging adult learners to scrutinize and question the images they consume actively. In this section, we discuss implications for practice and future research for educators in adult and higher education.</p> <hd id="AN0186281167-23">Implications for Practice</hd> <p>We provide three practical implications for adult and higher education educators to help their learners develop a critical consciousness to challenge and disrupt oppression. First, educators should design courses with inclusive and equitable theories of adult development. Traditionally, dominant adult development emphasizes personal growth and the intricacies of cognitive and meaning-making processes ([<reflink idref="bib29" id="ref77">29</reflink>]). However, existing models like [<reflink idref="bib13" id="ref78">13</reflink>] do not adequately account for the impact of sociocultural factors on psychological development and life transitions ([<reflink idref="bib48" id="ref79">48</reflink>]). For more inclusive and equitable teaching practices, the dominant discourse of developmental theories should be decentered, and multifaceted perspectives of developmental theories that acknowledge the intersection of social identities and non-Western perspectives should be centered. For example, adult educators can integrate Thomas and associates' ([<reflink idref="bib44" id="ref80">44</reflink>]) developmental theory and [<reflink idref="bib10" id="ref81">10</reflink>]) intersectionality theory to center the development of women of color, notably Black women's, gendered racial identity. Additional pedagogical approaches may include designing instructional materials and group activities highlighting these diverse theories, leveraging resources such as TED Talks, and inviting scholars to discuss the diverse adult development theories to enrich adult learners' understanding.</p> <p>Secondly, educators can engage their learners actively using oppositional knowledge. Oppositional knowledge refers to a perspective that originated for, by, and supports marginalized groups' resistance, notably Black women ([<reflink idref="bib8" id="ref82">8</reflink>]). Incorporating oppositional knowledge enables diverse viewpoints, enriching the learning environment, and offering alternative ways of knowing, doing, and becoming in the world. Literature suggests that antiracist and feminist pedagogies can foster oppositional knowledge, help develop inclusive curricula that acknowledge identities and voices that have been silenced/excluded, and recognize who has actual and perceived authority (e.g., [<reflink idref="bib22" id="ref83">22</reflink>]). These inclusive teaching strategies challenge dominant narratives, promote critical thinking, and value learner experiences. Pedagogical tools such as critical dialogues, critical media analysis, diverse readings, reflective writings, and role-playing exercises support these pedagogies ([<reflink idref="bib22" id="ref84">22</reflink>]).</p> <p>Lastly, we encourage adult educators to incorporate diverse films as a pedagogical tool to facilitate adult learners' comprehension of the numerous sociocultural factors that significantly impact development ([<reflink idref="bib26" id="ref85">26</reflink>]). Using film as a pedagogical tool allows adult learners to explore stories as manifestations of larger societal constructs, addressing themes of intersectionality in a way that eschews preaching ([<reflink idref="bib25" id="ref86">25</reflink>]; [<reflink idref="bib31" id="ref87">31</reflink>]). This strategy enhances the grasp of complex interactions between intersectional sociopolitical issues and transnational geographic contexts ([<reflink idref="bib25" id="ref88">25</reflink>]). In addition, adult educators can use Crenshaw's (1989) theory of intersectionality to help learners unpack the films and characters and gain what [<reflink idref="bib41" id="ref89">41</reflink>] describe as an "intersectional mindset." This mindset encourages learners to develop multilevel lenses of consciousness to know, analyze, and act on the intersecting natures of oppression, inequities, and power dynamics ([<reflink idref="bib41" id="ref90">41</reflink>]). Educators can infuse intersectional teaching practices through course assignments and activities to foster an intersectional mindset. For example, design vignettes that emphasize the invisibility and visibility of privilege across a variety of oppressions ([<reflink idref="bib6" id="ref91">6</reflink>]), integrate role-playing to embody learning, and photovoice assignments that depict the interlocking nature of social identities ([<reflink idref="bib7" id="ref92">7</reflink>]), and implement critical reflection exercises that reflect on positionality and privilege.</p> <p>Each of the implications for practice is valuable for enhancing cultural competencies for all learners by fostering an awareness of individual identities and challenging preconceptions. Educators can also utilize these pedagogical approaches to facilitate learning by engaging in thought-provoking discussions about privilege, positionality, and disenfranchisement.</p> <hd id="AN0186281167-24">Implications for Future Research</hd> <p>Looking beyond the scope of this current study, we identify three areas requiring further research regarding the representation of Black women in film—media content analysis, self-perception among Black women, and pedagogical approaches for promoting media literacy education. Media content analysis is a research technique that systematically, objectively, and quantitatively studies media content. It involves drawing inferences by identifying specific traits or intersections of identities within texts. This approach enables researchers to identify patterns in the media portrayal of Black women and comprehend the potential societal implications of these representations. Media representation affects how Black women see themselves. Therefore, future research on this topic can promote a positive self-image among Black women by advocating for diverse, relatable, and empowering depictions. Future researchers could explore media literacy education to understand better pedagogical practices and their effectiveness in fostering the empowerment of individuals to become informed consumers and producers of media content. These approaches hold the potential to help shift the dispositions of power, focusing on their influence on identity, media representation, and race relations within prevailing power dynamics ([<reflink idref="bib14" id="ref93">14</reflink>]).</p> <hd id="AN0186281167-25">Conclusion</hd> <p>Films entertain, educate, and inform us through storytelling. However, it is essential to recognize how representation in film can shape and promote the values and ideologies of the dominant culture while also perpetuating stereotypes and controlling images of minoritized groups, such as Black women. These tropes and images often disregard the Black female characters' personal growth and self-realization. In this current study, we examined 12 U.S. films featuring Black female protagonists to gain insights into their representation and adult development. We identified four themes: #noBlackgirlmagic, from object to subject, hair it is, and the lies (you) tell.</p> <p>Furthermore, we provided three implications for practice for adult educators to consider in practice. Firstly, integrating adult development theories that recognize the interrelatedness of social identities and include non-Western viewpoints can improve comprehension and inclusivity. In addition, designing learning experiences that encourage critical thinking and oppositional knowledge can empower learners to challenge dominant narratives. Lastly, leveraging films as pedagogical tools can offer unique opportunities for learning and discussion. 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Adult Education Quarterly, 59(2), 118–141. https://doi.org/10.1177/0741713608327368</bibtext> </blist> </ref> <ref id="AN0186281167-27"> <title> Footnotes </title> <blist> <bibtext> The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.</bibtext> </blist> <blist> <bibtext> The author(s) received no financial support for the research, authorship, and/or publication of this article.</bibtext> </blist> <blist> <bibtext> Josie L. Andrews https://orcid.org/0000-0001-6702-0071 Adam L. McClain https://orcid.org/0009-0002-7388-4292</bibtext> </blist> </ref> <aug> <p>By Josie L. Andrews and Adam L. McClain</p> <p>Reported by Author; Author</p> <p></p> <p>Josie L. Andrews, PhD currently serves as a Faculty Consultant for Teaching and Learning Innovation, a division of Faculty Affairs at UTK. Josie L. Andrews, PhD earned her doctorate in Educational Psychology and Research from the University of Tennessee, Knoxville (UTK), with an emphasis on Adult Learning. Dr. Andrews also holds a Master's in Adult Education, emphasis on Curriculum and Instructional Designs, and an MBA, both from Troy University. Her research agenda includes Black women in film, professional identity development, faculty of color, dignity and bullying in learning spaces.</p> <p>Adam L. McClain, Ph.D., serves as Assistant Professor and Program Coordinator for the Master of Science in Adult Education in the Department of Leadership Studies and Adult Education at North Carolina A&T State University. Prior to his current role, he was a Professor of Practice at the University of Tennessee, Knoxville, in the Department of Educational Leadership and Policy Studies. There, he also coordinated undergraduate studies and the leadership studies minor. Dr. McClain earned his Ph.D. in Adult Learning from the University of Tennessee, Knoxville, and holds an M.S. in Adult Education from Indiana University, Bloomington. His scholarship explores areas such as transformative learning theory, autoethnography and narrative methodologies, emotional well-being in education, disabilities in adult education, and adult learning and development in film.</p> </aug> <nolink nlid="nl1" bibid="bib20" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib19" firstref="ref4"></nolink> <nolink nlid="nl3" bibid="bib30" firstref="ref7"></nolink> <nolink nlid="nl4" bibid="bib18" firstref="ref8"></nolink> <nolink nlid="nl5" bibid="bib15" firstref="ref10"></nolink> <nolink nlid="nl6" bibid="bib39" firstref="ref13"></nolink> <nolink nlid="nl7" bibid="bib46" firstref="ref16"></nolink> <nolink nlid="nl8" bibid="bib42" firstref="ref17"></nolink> <nolink nlid="nl9" bibid="bib16" firstref="ref18"></nolink> <nolink nlid="nl10" bibid="bib12" firstref="ref19"></nolink> <nolink nlid="nl11" bibid="bib17" firstref="ref22"></nolink> <nolink nlid="nl12" bibid="bib40" firstref="ref27"></nolink> <nolink nlid="nl13" bibid="bib27" firstref="ref30"></nolink> <nolink nlid="nl14" bibid="bib29" firstref="ref34"></nolink> <nolink nlid="nl15" bibid="bib26" firstref="ref37"></nolink> <nolink nlid="nl16" bibid="bib24" firstref="ref38"></nolink> <nolink nlid="nl17" bibid="bib49" firstref="ref39"></nolink> <nolink nlid="nl18" bibid="bib38" firstref="ref40"></nolink> <nolink nlid="nl19" bibid="bib45" firstref="ref41"></nolink> <nolink nlid="nl20" bibid="bib47" firstref="ref42"></nolink> <nolink nlid="nl21" bibid="bib43" firstref="ref45"></nolink> <nolink nlid="nl22" bibid="bib23" firstref="ref46"></nolink> <nolink nlid="nl23" bibid="bib28" firstref="ref52"></nolink> <nolink nlid="nl24" bibid="bib21" firstref="ref53"></nolink> <nolink nlid="nl25" bibid="bib36" firstref="ref54"></nolink> <nolink nlid="nl26" bibid="bib34" firstref="ref59"></nolink> <nolink nlid="nl27" bibid="bib35" firstref="ref60"></nolink> <nolink nlid="nl28" bibid="bib37" firstref="ref62"></nolink> <nolink nlid="nl29" bibid="bib11" firstref="ref66"></nolink> <nolink nlid="nl30" bibid="bib33" firstref="ref67"></nolink> <nolink nlid="nl31" bibid="bib32" firstref="ref69"></nolink> <nolink nlid="nl32" bibid="bib13" firstref="ref72"></nolink> <nolink nlid="nl33" bibid="bib44" firstref="ref74"></nolink> <nolink nlid="nl34" bibid="bib48" firstref="ref79"></nolink> <nolink nlid="nl35" bibid="bib10" firstref="ref81"></nolink> <nolink nlid="nl36" bibid="bib22" firstref="ref83"></nolink> <nolink nlid="nl37" bibid="bib25" firstref="ref86"></nolink> <nolink nlid="nl38" bibid="bib31" firstref="ref87"></nolink> <nolink nlid="nl39" bibid="bib41" firstref="ref89"></nolink> <nolink nlid="nl40" bibid="bib14" firstref="ref93"></nolink>
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  Data: Cross-Cultural Spectators: Examining the Representation and Development of Black Female Protagonists on the Big Screen
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  Data: <searchLink fieldCode="AR" term="%22Josie+L%2E+Andrews%22">Josie L. Andrews</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-6702-0071">0000-0001-6702-0071</externalLink>)<br /><searchLink fieldCode="AR" term="%22Adam+L%2E+McClain%22">Adam L. McClain</searchLink> (ORCID <externalLink term="https://orcid.org/0009-0002-7388-4292">0009-0002-7388-4292</externalLink>)
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  Data: <searchLink fieldCode="SO" term="%22Adult+Education+Quarterly%3A+A+Journal+of+Research+and+Theory%22"><i>Adult Education Quarterly: A Journal of Research and Theory</i></searchLink>. 2025 75(2):113-131.
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  Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
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  Data: Y
– Name: Pages
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  Data: 19
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  Data: 2025
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  Data: Journal Articles<br />Reports - Research
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  Label: Education Level
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  Data: <searchLink fieldCode="EL" term="%22Adult+Education%22">Adult Education</searchLink><br /><searchLink fieldCode="EL" term="%22Higher+Education%22">Higher Education</searchLink><br /><searchLink fieldCode="EL" term="%22Postsecondary+Education%22">Postsecondary Education</searchLink>
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  Label: Descriptors
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  Data: <searchLink fieldCode="DE" term="%22African+Americans%22">African Americans</searchLink><br /><searchLink fieldCode="DE" term="%22Females%22">Females</searchLink><br /><searchLink fieldCode="DE" term="%22Literary+Devices%22">Literary Devices</searchLink><br /><searchLink fieldCode="DE" term="%22Films%22">Films</searchLink><br /><searchLink fieldCode="DE" term="%22Adult+Education%22">Adult Education</searchLink><br /><searchLink fieldCode="DE" term="%22Higher+Education%22">Higher Education</searchLink><br /><searchLink fieldCode="DE" term="%22Adult+Development%22">Adult Development</searchLink>
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  Data: 10.1177/07417136241287507
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  Data: 0741-7136<br />1552-3047
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Historically, the representation of Black women in film has been non-existent at worst and highly questionable at best. As cross-cultural spectators--"a Black woman and a White man"--we used an oppositional gaze to critically "look" at the representation and adult development of Black female protagonists across U.S. films. Based on a critical visual methodology of 12 U.S. films, four themes emerged - #noBlackgirlmagic, transition from object-to-subject, the lies (you) tell, and hair it is. The implications for adult and higher education are discussed based on the findings.
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  Data: 2025
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      Pagination:
        PageCount: 19
        StartPage: 113
    Subjects:
      – SubjectFull: African Americans
        Type: general
      – SubjectFull: Females
        Type: general
      – SubjectFull: Literary Devices
        Type: general
      – SubjectFull: Films
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      – SubjectFull: Adult Education
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      – SubjectFull: Higher Education
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      – SubjectFull: Adult Development
        Type: general
    Titles:
      – TitleFull: Cross-Cultural Spectators: Examining the Representation and Development of Black Female Protagonists on the Big Screen
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            NameFull: Josie L. Andrews
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            NameFull: Adam L. McClain
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              Y: 2025
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