Stereotypes In Hidden Figures

Hidden Figures a box office success exemplifying the socio-political climate of modern cinematic developments in the West. With the Hollywood stamp of approval, “so to speak” this unprecedented portrayal of a not so long ago time is gaining momentum to these current matters, non-discriminatory ideas, the enduring black history month, and a social media boom of enthusiasm for LGBTQ and female empowerment. Any, who are susceptible to an enticing film predicated on social and civil movements, along side a heartwarming ending, should watch! This film facilitates hope in a time of political confusion, i.e. the construction of a wall to illustrate Donald Trump’s xenophobic approach “to making America great again!” Hidden Figures’ captivating narratives
of Katherine G. Johnson, Dorothy Vaughan, and Mary Jackson accommodating all-embracing audience. The sixties becomes a strategic backdrop for interweaving three distinct stories, accounting for each woman’s experiences and service to NASA. These women’s legacy remains fundamental of NASA’s mission launching John Glenn into orbit. Their cunning intellect and vibrancy become figurative shields to overcome the stratification of NASA. Theodore Melfi’s directing and the diplomatic writing of Margot Lee Shetterly expose a moment in American history. Driving the national consciousness to an alternative dimension, to promote funding for innovative scientific and mathematical research. Shetterly’s raw portrayal of a gendered NASA, and, additionally, the widespread prejudices of African American citizens illuminate the strength of these women.
This story situates history and personal accounts of the lives of three brilliant women. Hidden Figures pays tribute to all those African American women and visible minorities “human computers” who faced discrimination. The film acknowledges the heterogeneity of pay, working conditions, and restrictions for opportunities. The NACA (find out what it stands for) a precursor to the NASA establishment, similarly there was a wing too designated for the “West Computers,” often those who were women of colour. Despite their educational successes and academic equivalencies to their male or female, Caucasian coworkers, their careers suffered. Many unsubstantiated delays, such as retaking college courses of previously passing grade and seldom receiving advancements or consideration for promotions within the NACA (CITE WOMEN COMPUTER LINK)
Henson’s character, Katherine an African American mathematician, physicist and space scientist assisted in the tedious calculations (before IBM) for John Glen’s first orbital flight in 1962 (CITE).
Katherine’s contributions (and countless others) did not silence an assembly of separatists’. Their primary goal was to solidify an implicit figurative and literal border of African American citizens for white supremacists. Katherine vehemently humbles Harrison of his disapproval for her frequent absences when Katharine speaks to the distance she travels each and every time she needs to relieve herself. She expresses the burden of these prejudices, which inhibit her work, her livelihood, and her responsibility as a single mother to provide for her daughters. Notably, the scene following is a touching representation of the breaking down of racial boundaries. Harrison is spotted forcefully breaking the sign that denotes coloured and white only bathrooms and asserts, “Here at NASA we all pee the same
colour.”
Hidden Figures embeds a powerful allegory for change. This film addresses the pervasiveness of belief systems/principles that subdue any momentum for change, including, amendments in politics, and democratic systems. Paul Strafford, an engineer for NASA demeans Katherine’s contributions when refusing to let her sit in on the editorial meeting of John Glen’s fast approaching mission. Strafford’s behaviour is telling of his insecurities and his own fear of the growing competition, especially to a woman of colour. He symbolizes those trying attempts to preserve the distinctions between the public and domestic sphere. Katherine silences his pompous and conservative attitudes. The trivialization of Katherine’s involvement is contested when Strafford says, “There’s no protocol for women attending,” and Katherine’s deafening response, “There’s no protocol for a man circling Earth either, sir” speaks volumes, This scene communicates the baseless defense of Strafford and her response encourages reflection for the audience. The film acknowledges the beauty of diversity and the mixing of gender, race, and class. Thankfully, Strafford’s character develops throughout the film to symbolize the potential for change-change that surpasses written, constitutional amendments, but the unspoken changes of perspective, and beliefs.
Conversely, gospel artist, Kim Burrell featuring on the Hidden Figures soundtrack gave a sermon condemning homosexuality and describing sexual acts unrelated to the holy act of sexual intercourse solely used for procreation as “perverted.” (CITE) Burrel’s words contradict the morale of Hidden Figures. Needless to say, one is entitled to free speech. However, this hate speech is non-complementary to Burrel as an artist who aligns herself with a liberal film and later demeans those who do not conform to heteronormativity. Thus, Burrel’s words should not associate with Hidden Figures. Her opinion is representative of a majority, many including, Ellen DeGeneres, and Frank Ocean who asked her son to remove Burrel from one of his tracks. Since then, Burrel has expressed a contradicting statement, when she declares that “she loves everybody and didn’t explicitly say anything negative about the LGBTQ community.” However, redeeming this may appear, her response may lack sincerity, because only after Burrel’s address goes viral, and Burrell faces public backlash was she overruled to perform on Ellen’s show. Though, Hidden Figures was untainted by her intolerant words and consequently her words only contributed to an even larger Buzz for the film.
The sixties mark a decade of movement and change.
This film speaks to a type of liminal space occupied by African American citizens. Hidden Figures demonstrates the implicit hierarchal structure of NASA. For example, the coffee scene illustrates this enduring discrimination of those who were often restricted to coloured bathrooms, coloured wings of an institution and, absurdly, the colouring of coffee pots from white only. Hidden Figures subverts universal binaries, black vs. white, man vs. woman, etc. for example, Kevin Costner, a distinguished American actor, plays Al Harrison, the supervisor of (FIND OUT EXACT TITLE). Harrison is a Caucasian male who holds tremendous influence within NASA. However his character transcends archetypes of the patriarchal, chauvinistic white man. Harrison’s multidimensionality exposes stereotypes to the many facets of society. He represents a dichotomy, he who is both at times aloof, a hard ass and correspondingly displays moments of understanding and love for his wife and children, as well as his NASA
family.
The morale of this film transcends the impeccable acting, empowering soundtrack and the believability of the set. Hidden Figures is a story of three women who encompass intelligence, drive, and vigor. Each woman’s contribution to history surpasses groundbreaking developments, and bridges the gap of racial demarcations. Melfi’s tenacious delivery symbolizes the changes made and to come for humanity. These exemplary women illustrate the courage necessary to overcome the restrictive forces of gender and racial boundaries. Their stories will inspire future generations to participate in the improvement of our world actively, to dream so big their lives can reach far beyond the stars of our planet.