By Montré Aza Missouri

Black Magic lady and Narrative movie examines the transformation of the stereotypical 'tragic mulatto' from tragic to empowered, as represented in self sufficient and mainstream cinema. the writer means that this change is thru the character's trip in the direction of African-based religions.

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What is equally important is the silence amongst the mainstream white feminist organisations in reaction to widespread protest and public condemnation on the part of men’s groups to a film based on a novel by a feminist writer with a feminist message. Despite the film’s feminist themes and focus on a female character that is a victim of sexual violence and abuse yet gains the courage to overcome patriarchal structures with the support from other female characters, the film received little to no public support from feminist activists against a heavy male backlash.

As previously discussed, black women’s sexuality since the period of slavery to the present has been framed by white patriarchy as a pathological ‘other’ of the oversexed ‘sapphire’, ‘jezebel’ and the asexual ‘mammy’ stereotypes which have been further reinforced and mirrored by the patriarchal structure of the black church. Therefore, the notion of divinities speaking and transforming through heterosexual and homosexual encounters starkly contrasts with the conventions of Christian doctrines and the conservatism of the traditional black church.

Léopold is a mixed-race boy of privilege who is close friends with José, despite the disapproval of his parents—a French sugar refinery owner and his black mistress. His parents believe that Léopold should not mix with the poorer black children of the sugar cane fields. Although Léopold admires his father and identifies with whiteness, his father ultimately betrays him. On his deathbed, Léopold’s father refuses to allow his son to inherit his French surname, which the father explains to Léopold’s mother, is a name that should only be carried by white people.

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