Hispanic Fanatic

This weekend, Chris Rock will host the Oscars, during which he will — maybe, possibly, in all likelihood — address the fact that the last 40 acting nominees have all been white. He may also mention that the track record of behind-the-scenes nominees (e.g., writers, cinematographers, and so on) is even more dismal.

Now, many people have hyperanalyzed the reasons why the Oscars are so white, and why the film industry lags behind other art forms in projecting America as it actually exists, and whether or not this is all a misunderstanding or deeply ingrained racism.

I’m not going to recap all the backlashes and counter-backlashes that this mess has conjured up. But I do want to point out one very telling, almost universally ignored aspect of this controversy.

You see, the Academy has announced that it is changing the rules, and eliminating people who are no longer active in the film industry from its roster of voters.

This has predictably riled up those long-time Academy members who are in the twilight of their lives, many of whom are crying, “Ageism!” They may have a point.

But what I find interesting is that, in the reasons and justifications for their opposition to this rule change, more than one Academy member has said that it is unfair to ethnic minorities. As many commentators have noted, “if there’s a black Academy member out there who agrees, please do get in touch.” And yet, many people still embrace the idea that altering the status quo to increase diversity is actually a bigoted response.

What does this tell us?

Well, for starters, it shows once again that people who are accused of being racists will often turn around and shout that their opponents are the real racists. It’s a nifty bit of swift-boating.

It also reveals that acknowledging an institution’s biases — and by extension the touchy topic of white privilege — causes people to freak the fuck out and get more than a little defensive.

But more than anything, it serves as direct evidence that white people in positions of privilege, such as rich Hollywood types, feel that they can pontificate on any issue and shout down any viewpoint different from their own.

Think about it. Here you have a wealthy white person deciding what is and isn’t fair to ethnic minorities. He or she isn’t concerned with whether or not ethnic minorities perceive it that way. Privileged individuals are used to having their voices heard, so why should this subject be any different?

In this way, they prove, unintentionally of course, that there really is a racial problem in Hollywood. After all, this is a case of rich white people saying, “There, there, all you struggling blacks and Latinos. We’ve decided that your proposed solution is actually harmful to you, and in our great magnanimity we’re going to fight against it — for all of you, of course.”

It doesn’t get any more arrogant.

So for two years in a row, the top individual prize in the entertainment pantheon — the Oscar for best director — has gone to a Latino.

That’s great. And Mexican auteur Alejandro González Iñárritu took time in his speech to give a shout out to immigrants, which was classy.

But of course, much of González Iñárritu’s triumph was overshadowed by a truly tone-deaf chiste from that master of humor, Sean Penn (as an aside, is there any artist who is more respected but less liked than this guy?).

Now, González Iñárritu has pointed out that Penn’s comment was an inside joke between friends. We’ll give him the benefit of the doubt, then, and say that Penn isn’t a straight-up racist.

But perhaps inside jokes aren’t a very good idea when millions of people across the planet are watching. And maybe tossing racial jabs isn’t very bright when you’re representing an organization that is hypersensitive about its horrible record on diversity.

All Penn’s joke did was make every white liberal in the audience uncomfortable, confirm the bias that many ethnic minorities believe lurks within the system, and “underscore the problem the Motion Picture Academy of Arts and Sciences has been trying desperately to disprove.” Namely, that the Academy has a racial issue.

The stunning lack of diversity in the entertainment industry is a well-known facet of American culture, and I’ve written about it more than once.

And it is not, as many right-wingers seem to think, just blacks and Latinos clamoring for jobs they haven’t earned. It’s about equal access and opportunity. One could argue this is all that any fight over civil rights is, at its core.

But when it comes to the entertainment industry, specifically, it is about something more. As González Iñárritu has proved, different perspectives lead to new ideas and new stories. It is essential for any art form that, to remain relevant, it continue to grow.

And to be blunt, there are only so many more movies that we can take about an upper-class white family gathering together for a funeral/wedding, or a white guy’s attempt to bond with his elderly and uncommunicative dad, or the adventures of white prep-school kids coming of age.

We want something else.

I’ve written before about the poor representation of Latinos at the Oscars, and in the world of cinema in general.

So I was pleased to find out that the Academy of Motion Picture Arts and Sciences (the people who hand out the little gold men) have recently decided to get on the Latino bandwagon and throw open the doors to more Hispanics.

The Academy just released its list of new members, and of the 276 additional people who will get to vote on Best Picture, there are 22 Latinos.

Among the new members are Jennifer Lopez, Rosario Dawson, Michael Pena, and, yes, Danny Trejo.

That’s right, Machete himself is now a member of the Academy.

How cool is that?