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The second video is also here on YouTube. [embedded content] The correct quote, from Dr. Wayne Dyer: When you change the way you see things, you things you see change. And from one of my favourite personal growth writers, Benjamin Hardy: When you change the way you see yourself, you change. Appearance Goals and Alignment I wanted to show you how I looked back in that video of the first edition of the book but couldn’t find it.
Here is a photo from the same era, around 2012. This woman has coloured hair. The one in the video above has her own hair colour, which (in my perception) is not as red or pigmented as it appears. An occasion to reflect on my appearance goals arose this week. We all know what we don’t want, but coming up with what we want asks more of us. Pretty and sexy are in the eyes of every beholder. In my younger years, I’m sure that I wanted those things.
Today, I find every woman equally pretty, and I see two kinds of beauty. The first: closer to what media tells us pretty and sexy mean in the swamp of cultural rating with which women have always been afflicted. The idea of pretty and sexy feels OK but I resist surrender (and even the language of surrender) to someone else’s satisfaction with how I look or don’t look. The whole idea of spending money to feel unsure, allowing decisions to be made externally so that someone else can decide when I’ve arrived, feels like an outdated fashion system in which women were told what to do, and going backwards in my own life to a time before PCA.
The second: in alignment with her true and highest self. At almost 60 years old, I and women of my age have a lot of self-knowledge. We have much that we still want to be, but little that we have to prove to become that. I do want to present the version of myself in which the exterior projects the most Hi Def picture of the interior. As we mature, the interior becomes fuller, stronger, layered, contextual, secure, and settled.
The inner and the outer are both fluid and I want them to keep pace. Of the woman in the video and the one in the picture, which one is getting bigger things done today? Who walks into a room and appears to have her beep together? Now, some might feel the woman in the video is overdone and that her clothing and makeup are wearing her. The woman in the second video is wearing more lipstick than in the Part 1 video.
Same woman. Same Season. They may find that she was going for energetic and vibrant but ended up at inexpensive or bling. We perceive from the space we’re in, personally, culturally, and in many other ways. In my late 40s, my pre-PCA goals were: To wear clothes that looked young or imaginative (but not too imaginative) and nice together. Today in my appearance, I want to find the balance between appearing as I feel myself to be, and the vision that is at least 80% aligned with the average of what everyone else sees.
When the vision of what we want or how we would like to be seen is in the West, and the reality or the average of what everyone else sees is in the East, it’s hard to “manifest” the thing we wanted, meaning the way we wanted to be perceived. Today, I want to look competent, effective, and healthy. Although I had not given it thought, in my pre-PCA 40s, I did look juvenile, inexpensive, and eccentric.
Not only did I not achieve the desired outcome in the moment, but life didn’t seem to click in my favour. For anything we desire, as clear as we may be about what that is, when the vision is over here and the outcome is over there, our energy is serving two masters. In being so divergent, no outcome is met. We remain where we are, spinning away. Alignment is one of the keys to progress, rather than my previous world of oscillation.
I want the inside to match the outside. Sounds so simple. When the vision and the perception overlap by 80%, Christine no longer looks like a dialled down version of herself. Even if I wanted to be the same at 60 as 40, which I don’t, life wouldn’t let me. It’s my job to find the lessons in the changes. Season does not change. Other things about us do, and so does the world around us, the personal appearance landscape, and many more lenses in our lives.
Captured in the quote by Adam Grant, Be true to yourself, but not so much that your true self never evolves. We are an individual who has many forms of personal self-expression. However, we cannot do everything by ourselves and need the balance of the mirror of others’ eyes and a structured system to find our place within an open ocean of possibilities. PCA is an instrument for bringing our vision and reality closer together in an afternoon.
Thank you to Floortje Mossou, our analyst in The Netherlands, for her advice on improving my eyeliner. I love it when someone tells me what isn’t working for me because it gives me a point of focus, and then they proceed to tell me what to try instead, which is like PCA (everyting is like PCA). Floortje is brilliant with makeup in a most tasteful yet modern way. She doesn’t know this yet but one day, when she comes to America again, maybe for an analyst meeting, I’m going to request a makeup tutorial with a willing subject, in which I’m the student.
After, I’ll buy her any lunch she wants. Now that I’ve gotten the deep musings out of my system, let’s go back to Evangeline’s questions. Jewelry Silver or gold are both fine for Neutral Seasons (the Softs, Darks, Lights, and Brights) and will continue to be with silver hair, whatever your Season. Regardless of age and depending on the woman, my eyes may be distracted by high shine or frost in metals and makeup with Soft colouring.
If this applies to you, keep those items further from the face or choose muted surfaces. The elephant pendant group may be Soft Summer. Evangeline has blue-green eyes. She will look striking. We want to make decisions that work in our favour in the real world of getting dressed and presenting well. The leather jacket may be too dark. The coral blouse may be True Autumn, it reads quite warm, an example of warmer than it is soft perhaps.
Still, these are close to home. I could see them with a slightly deeper lipstick (thinking of Rum ‘n Raisin in the Blueprints line) on a woman with brown eyes. The group in the lower L may feel disruptive to some while others appreciate the spontaneity. I might switch the hat to something less red and pigmented. Hats are like hair and jewelry near the face. They have more impact on our face because they are closer to it.
The earrings have a nice colour and texture. Use the yellows and grays in your palette to match jewelry. Darkness We left the last post mentioning darkness, often a catch point for the Soft Seasons and maybe for all of us. The Soft Seasons and the three Autumns (Soft, True, and Dark) include darkness as a important component of their colouring without great pigment intensity. Even Dark Autumn’s darker colours are not intensely pigmented in the inky way we find in Winter.
Darkness isn’t the same as pigment. Soft and dark are different but it’s easy to mix them up. We see colour poorly in the dark and to compound the limitations of our vision, there is less colour to work with when more wavelengths are absorbed and fewer are reflected back out. Widen your awareness beyond the darkness and ask yourself, How much colour can I actually see? Softness is like replacing some pigment with gray.
If I began with a pot of paint in this level of darkness, how much pigment would be added to create this colour? At whatever darkness level the colour is, is there more gray or more colour? If you feel it’s more gray, you may be in the Soft Seasons. What is the ratio of pigment to gray? Is the runway flat? Brighter colours pop forward. Light or dark shouldn’t matter. When you fan the palette out, if the light colours de-energize, the arms of the strip look shorter or as if you’re going downhill or they’re sinking into the fabric.
Ideally, your attention is divided equally so the runway is flat. The purple pants on the far R have visible gray. They seem fine with the warmth in the top. The red purse and brown pants have less visible gray. They may be another Season, but they work within the composition. Soft Summers often wear lime before learning their Season and I’m never certain why. I think it may be related to the tendency of many groups, and that one especially, to guesstimate themselves to be warmer than they are.
Soft Autumn could have a lime type colour that might look like the cardigan above or a little softer. Kathryn Kalisz, the founder of Sci\ART and designer of the colour palettes upon which our system is based, possessed an intimate understanding of colour chemistry and human psychology and vision, from which created harmonious palettes. Every colour is not identical in its colour dimensions within a Season, since it begins with different chemical properties, but she could make it look as if that’s what happening (or so it seems to me today as I stand like an island in the sea of fabric that decorates my home).
Under a global set of dimensions for each Season, the colours change their properties, keeping pace with one another, to arrive at unanimous agreement (harmony, synchrony) from apparently divergent parts. For Kathryn Kalisz, genius is too small a word, and from me, respect, gratitude, and indebtedness are too words too small to convey my feelings for what she accomplished. Like a colour-analyzed appearance, it’s not magic.
There is no magic, but rather application of profound knowledge. Your colour analyst can hand it to you in a booklet, but we should never forget what came before. Evangeline enjoys dark colours for feeling present and supportive. Autumns often do and so they should. Soft Autumn especially can sometimes dress in an overall colour scheme that is on the light to medium side. Part of her job is to become familiar with the darker colours.
We should all wear our entire palette, as Kathryn pre-configured it to be in harmony. Not only that, it is in synergy, meaning that the parts become more and better together than apart. Season Your Way Do you find the combinations too much or not enough, or you wouldn’t put those colours together? No wrong answers. The purse beneath the title is that orange-gray that Autumns wear well. They have pinker grays too, Neutral Seasons often drift between greener and redder (cooler/warmer).
Which bracelet do you prefer? My eyes like the top one. The other one, I can look at the bracelet or the outfit but not both at once. Are the earrings in the top R jumping ahead because they’re very shiny, too red, too green, or the scale is too large? Depending on the colour, red and green can feel warm and combined with shine, the item could take over. Other folks’ opinions are valuable when asked the right question.
“Are you looking at me or my earrings?” works quite well. The gray purse with the sunglasses lineup is calling me slightly, in a not-so-good way. It seems too red. Do I just really notice red? I really notice orange. The same purse above in Darkness Variations felt better. We wear different items on different days. The jeans are kind of pink. Soft Autumn is a little more green. But I’m fine with them, maybe because they barely fade to white.
Super-faded, beyond gray to white, on Autumns, can look like part of the fabric or leg is missing. Autumn needs darkness. I like the jeans with the scarf pinks and periwinkles, they’re finding something in one another that looks creative. Is the coral top with the jeans too bright? Too warm? IDK till I compare it with something. But Autumns wear coral and yellow well, I can see some gray in that colour, and the blouse was on a great sale.
Could I be a Dark Autumn? Enjoying one’s appearance in dark colour, as Evangeline was finding, is almost more confirmation of Autumn, compared to Spring or Summer. Winter colours certainly have darkness but it is so intense that on a Soft Season, it looks like a black hole. I pinned pictures of Catherine, Duchess of Cambridge wearing a black hat to the Soft Summer board to show you what I mean. It’s like a light sink, an area of nothingness or empty space.
Next door, she wears a blue hat that I find lovely. The style of the hat may be odd but she and the colour are not distorting one another. They look normal. Dark Autumn would wear burnt orange, black purple, and chartreuse green, together at once, and look entirely normal. I didn’t predict that for Evangeline and she couldn’t imagine it for herself. We would see those colours before we see the woman.
Feeling well in some Dark Autumn colours makes great sense. Both are Autumn with similar warmth. In the light and medium colours, some of the blues, muted greens, and neutrals could be just fine. Items that feel expressive, exciting, and evocative could participate beautifully in the Soft wardrobe. If the item seems dark in excess of the Soft Autumn collection or too spicy, it may be best left at the store.
If the colour is too red or green, the temperature will feel disruptive in the Soft Autumn composition. We feel warmth from red and gold, which is why Dark Autumn seems so spicy. Dark Autumn is the simultaneous presence of gold and rust. The trio of sunglasses, purse, and woman in the top L are too strong in some way for Soft Autumn. The blue in the purse and sunglasses is quite near one of their navy blues if it were faded back a bit.
The leather jacket to the right of the blue handbag might be darker on a gray scale, and it also appears softer or dustier, with more visible gray. Disconnecting darkness from saturation is a good exercise. The camel coat that is so great on Autumns could look like the one above. Soft Autumn has 10, 000 beiges, all of which are fairly quiet. For a light colour, camel can really take over (see Refs and Runways below, turtleneck top row centre, but I really notice orange).
To become a Dark Autumn, Evangeline would have had to darken and saturate, which people don’t do over time. She mentioned that she was receiving positive comments in Dark Autumn. Of the photos I saw, the colours she considered Dark Autumn were actually darker colour within Soft Autumn. The comments of others are a double-edged sword but in this case, I think they had it right. Reference Pieces and Runways If you shopped with the boots and purse on the L, you might find the items in the centre top row too red, while the R top row is a bit bright but manageable.
If the suit at the L is a reasonable reference point (I would have preferred redder but the suit didn’t present itself), the runway after that might be a bit bumpy. Items 3 and 5 seem pretty good, and the others advance and recede. Depending on what they were combined with and the woman’s individual pigmentation, preferences, age, hair colour, or wearing or cosmetics, they could all be workable.
The great thing about colour is that it doesn’t need to be perfect to be great. If you and what you wear are close enough, the similarities can find one another. Hair Colour and Texture Variations Hair changes our self-perception for certain. A block that was previously coloured in our composition has become a neutral. Still in perfect harmony, but creating a different sort of impact. To Evangeline’s credit, she is raising the intensity of garments and cosmetics to keep the result exciting and vibrant, but as many women do, she may be looking too far from home for the answers.
Stay within your Season as much as you did before silver hair. In Evangeline’s perception, the silver hair seems very cool. Compared to the previous dye, which her self-image learned over years if not decades, it may be. To me, it looks like expensive gray suede. Like all women, until a few inches of silver appear and the dye is removed, it’s hard to see that we could look quite different and that different is actually better.
I have never ever seen the woman for whom the dye is more attractive than what I see the silver will be. The silver hair looks wow next to the skin, and for Evangeline, it looks soft in the overall composition, understanding that hair colour is the least reliable indicator of Season. You could see pure white hair on True Summers and softer silver on Dark Winter. I wouldn’t worry the shade of gray and would fully trust that it is still perfectly in harmony with the skin and eyes.
Once hair becomes a neutral, cosmetics and attire may need to come up a notch inside the Season. Match the hair, like the suit on the L side under the title. It looks connected and self-aware. The viewer is free to focus on gorgeous makeup and even more gorgeous eyes. On other days, wear neutrals that don’t match the hair, like the blazer with the soft red blouse. Wear red. In all its forms, red is exciting on everyone.
Whatever your style type, wear natural materials. A total Autumn thing, though many other style and image types wear it well too. Wear prints, as the dress in the lower L. The woman’s pigmentation is very different from the dress, and we have to separate that from the garment. Bits of muted black are fine; it’s the blue pitch kind that you want to avoid. Wear texture. Sheer, leather, faux fur, denim, quilting.
Autumns look good. Light jeans are an option, as the lower R, in this lighter Autumn. Wear shoes and boots in the hair colour. I find it gives a bracketed, stable, reassuring, luxurious look. Wings Out You can do this your way. Don’t let anybody suggest that you can’t, including you. Colour belongs to all of us and is a gift of our world that we may accept. With thanks to Susan for sharing the title image.
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Summer blockbuster season is in full swing. For many moviegoers, that means escaping to a galaxy far, far away—or perhaps just a different version of our own planet Earth—through science fiction and fantasy movies. As fans clamor for the latest cinematic thrills, we decided to focus our next Diversity Gap study on the level of racial and gender representation in these ever-popular genres that consistently rake in the big bucks for movie studios.
We reviewed the top 100 domestic grossing sci-fi and fantasy films as reported by Box Office Mojo. The results were staggeringly disappointing, if not surprising in light of our past Diversity Gap studies of the Tony Awards, the Emmy Awards, the children’s book industry, The New York Times Top 10 Bestseller List, US politics, the Academy Awards, and Silicon Valley where we analyzed yearly/multi-year samplings and found a disturbingly consistent lack of diversity.
The Diversity Gap in Sci-Fi & Fantasy Films infographic (click for larger image) (see end of post for a list of included movies in each category) Among the top 100 domestic grossing films through 2014:• only 8% of films star a protagonist of color • of the 8 protagonists of color, all are men; 6 are played by Will Smith and 1 is a cartoon character (Aladdin) • 0% of protagonists are women of color.
14% of protagonists are women • 0% of protagonists are LGBTQ • 2% of protagonists are people with a disability The following interviews with two prominent entertainment equality advocacy groups shed more light on the subject. Marissa Lee is co-founder of Racebending.com, an international grassroots organization of media consumers who support entertainment equality. Racebending.com advocates for underrepresented groups in entertainment media and is dedicated to furthering equal opportunities in Hollywood and beyond.
Imran Siddiquee is Director of Communications at the Representation Project, which is a movement that uses film and media content to expose injustices created by gender stereotypes and to shift people’s consciousness toward change. The Representation project was the follow-up to the critically acclaimed documentary Miss Representation. Jason Low: Do these statistics surprise you? Why or why not? Marissa Lee: The statistics are certainly striking, especially since sci-fi and fantasy belong to a genre that prides itself on creativity and imagination.
These statistics aren’t necessarily surprising, since lack of diversity in Hollywood films is a well-known problem. There have been enough studies and articles, and any moviegoer can pause to notice there is a disparity. . . . Hollywood can’t go on pretending that this isn’t a problem. JL: Do you think the American movie-going audience would support a big, blockbuster sci-fi/fantasy movie with a diverse protagonist if a studio made it? Imran Siddiquee: Yes, definitely.
But I think an important thing to understand about Hollywood blockbusters is that they are almost never flukes; they are preordained. Sure, we have the occasional surprise indie hit, but you need a lot of money and marketing behind you to become a blockbuster. Just look at the top ten films in each of the last five years: nearly every single one had a budget of more than $100 million (a lot of them were also sci-fi/fantasy films).
Meanwhile, there hasn’t been a single film released this year starring a person of color with a budget of more than $50 million, let alone a sci-fi film, which is naturally going to be more expensive. The same goes for most of the last decade. So for anyone who might say “people just don’t watch sci-fi movies starring people of color,” or “there’s no evidence that this would work,” the truth is that we have no evidence that it wouldn’t work.
Studios take a couple of massively expensive chances every year on mostly unknown actors or directors—aka giving the Spider-Man franchise to Marc Webb and Andrew Garfield in 2012—but they just don’t take those kinds of chances on people of color. In other words, if Hollywood wanted to make a blockbuster sci-fi/fantasy film starring a woman of color, they definitely could. ML: I think American audiences would support a film with a diverse protagonist, because we already have.
One pullout statistic from your infographic is that Will Smith leads six of the top 100 big sci-fi/fantasy films. His race wasn’t a huge impediment to box office success and may have, in fact, been part of what made him all-American and relatable. That was back in the late 1990s, but since then, Hollywood hasn’t tried to find a new Will Smith. This is kind of ironic, given that Hollywood likes to stick to formulas and sequels! They could push forward another actor—or actress—of color with Smith’s charisma.
They haven’t. The American movie audience supports any movie that Hollywood successfully markets well, especially—but not always—if the film is well produced. Hollywood has managed to market some weird stuff, like a tentpole movie about talking teenage turtle martial artists, or cars that change into space robots, and so on. I don’t buy that when it comes to marketing diverse leads, suddenly this giant industry can’t do it.
I’d be interested in seeing how many of these top 100 grossing sci-fi and fantasy films star non-human leads. I wonder if there are more films with non-human leads than minority human leads on the list! (Side note: Does the infographic count Keanu Reeves as white or as a person of color? I think he has more than one movie on this list given The Matrix trilogy…) Editorial note: Yes, Keanu Reeves is counted as a PoC and did make the list for The Matrix.
The second Matrix film, The Matrix Reloaded was the only installment of the trilogy to make the top 100 list. JL: What challenges have you faced or seen peers facing as a woman/person of color, etc.? ML: There are films with built-in audiences that Hollywood still insists on whitewashing, which has a very adverse effect on actors of color. Let’s be honest, audiences would have still flocked to see The Hunger Games or Twilight if characters like Katniss or Jacob had been cast with people of color as they were written in the books.
An actor with a disability could have played the protagonist in Avatar—if we have the technology and imagination to animate a fanciful world populated by blue cat people, we could have cast an actor with a disability similar to the lead character’s in that role. As a result of these casting decisions, up and coming actors from underrepresented groups were deprived of career exposure from being a part of these established franchises, making it harder for Hollywood ever to try and launch a new franchise with an actor from an underrepresented group.
Every single Marvel Studios movie has centered around a presumably straight, white, male protagonist, even if white women (mostly love interests) and men of color (support roles) have played roles in the film. The franchise is a box office juggernaut and has a ton of movies on this list, but we’ve gotten two to three movies about each of the men on the Avengers and there’s yet to be a film about Black Widow.
Both of Marvel’s ensemble films—The Avengers and Guardians of the Galaxy—trimmed down the superhero teams for their film adaptations, and the women characters, save for one, were the first to be cut. Most moviegoers will never know that women of color and LGBTQ characters were cut from Guardians of the Galaxy, but audiences will get to relate to the talking raccoon and the talking tree. More recently, the Divergent franchise cast Naomi Watts to play a character who was a woman of color in the books.
It’s a supporting role for an already established franchise, and for whatever reason the production still couldn’t bring themselves to cast an actor of color. Trends that fans have noted in the media include that in big blockbuster sci-fi and fantasy films, the presence of a straight, white, able-bodied, cis male in some central role in the story is almost guaranteed, while the presence of characters with “minority” identities (e.
g. LGBTQ folks, people of color, people with disabilities, women, etc.) is not. Even when a character who isn’t a straight, white cis male is centered in a story, there’s probably a straight, white, cis male character playing second, if not lead, billing. For example, while we can reasonably assume that the next few Star Trek and Star Wars movies will have some diverse characters, we can guarantee that at least one of the leads will be a straight, white man.
If The Hunger Games or Twilight had cast actors of color for Katniss or Jacob, there would still have been plenty of lead roles filled by white actors. DC is including Wonder Woman in an upcoming movie, but the film will also feature Batman and Superman. This means that someone with a lot of intersecting privileged identities (especially straight, white men) will always be able to walk into a multiplex and find a sci-fi/fantasy movie starring someone who shares those identities.
If you have a lot of marginalized identities, then representation is a sometimes thing, never a solid guarantee. There is a very small but vocal minority of people who want to maintain this status quo, and Hollywood seems to cater toward them due to institutionalized racism, fear, and habits. But there are just as many, if not more, people who are willing to support, vociferously, films with diverse leads.
I wish our money was as good as theirs. JL: How can consumers encourage more diversity in movies? IS: Avoid buying tickets to films which clearly rely on stereotypes or demeaning portrayals of people based on gender, race, class, age, sexual orientation, ability, or circumstance. And anytime you do watch a film, give it The Representation Test afterward. The test grades films on their inclusiveness pertaining to all those above categories.
When a movie scores really low on the test, use #NotBuyingIt on Twitter to let the filmmakers and all your friends know how you feel. Since so much of this industry is based on money, this is one way we can express our discontent and get the attention of the studios. ML: Media literacy is a huge start. As media consumers, we should feel empowered to critique the media we consume, and to decide what media we choose to consume.
Beyond helpful steps like going to see movies that feature diverse leads, it’s just as important to start conversations in our own communities and with our friends and family (the people we consume media with!) to raise awareness about diversity and representation. Even if we don’t go to see movies that whitewash or exclude or present discriminatory content, people we know will. One way we can help change things is by continuing to start conversations.
We need to create an environment where it is safe to criticize popular franchises for lacking diversity. We also need to keep drowning out the malcontents who cannot even handle actors of diverse backgrounds in supporting roles. Social media has really knocked down barriers when it comes to communicating our opinions with Hollywood brass. It’s also given us several spaces where we can discuss the media we consume with our friends and family.
In addition, the internet has really changed how we access and consume media. There are Kickstarters and indie channels and online comics and other outlets so we don’t have to be reliant on big production studios or publishers as our only sources of entertainment. JL: How close or far do you think we are from getting these statistics to change? IS: When you’re talking about representation that is this low, it’s hard to go anywhere but up.
For instance, 0% for women of color in top sci-fi films means I’m being honest when I say things will certainly improve soon, but that’s not saying much. I think we are pretty far away from true equality, or a cinema that reflects and includes the broad diversity of human experiences in the real world. Too many wealthy, white men still run Hollywood, and their decisions still have too much power.
As I mentioned earlier, these kinds of movies are very expensive, and so it’s hard for independent or upstart filmmakers to break through or compete. That being said, the slight increase in success for white women in blockbuster sci-fi movies, such as Gravity, The Hunger Games, and Divergent, means change is possible. And it’s hard to overstate the importance of the Oscar wins for 12 Years a Slave last year, because while it wasn’t a blockbuster, it is a film that everyone in the industry now knows about and has probably seen.
And the whole reason we’re even talking about representation in movies right now is because we know how much seeing different experiences on screen can impact people’s real world thoughts and attitudes. So films like 12 Years a Slave are part of the gradual shifting of consciousness that has to happen in Hollywood to get to a point where studios are consistently greenlighting big-budget films starring people of color.
ML: As budgets for tentpole science fiction and fantasy movies have soared, studios have been more reluctant to take a chance on actors or characters that they perceive as risks. Because people of color and women are also already more likely to consume movies than white people and men, maybe they don’t feel an incentive to change what they are doing because, from their perspective, minorities are perfectly willing to watch films starring white guys.
Hollywood is pretty stubborn, especially when it comes to tentpole movies. We are seeing more diversity in television, particularly in children’s television, as well as in online content. The establishment will change when someone influential in Hollywood decides to take the risk and make an effort to diversify their film offerings. The stats in this infographic are focused on profit, not art. For things to change, Hollywood needs to believe that diversity can be profitable.
*** This is not an isolated incident, but a wide reaching societal problem. Read more Diversity Gap studies on: The Academy AwardsThe Tony AwardsThe Emmy AwardsThe children’s book industryThe New York Times Top 10 Bestseller ListUS politicsSilicon Valley Further resources on how to teach content and visual literacy using Lee & Low Books’ infographics series on the Diversity Gap: Using Infographics In The Classroom To Teach Visual Literacy CONTACT: For more information or to request permission to reprint, please email hehrlich[at]leeandlow[dot]com Update, 8-13-14: Careful readers called our attention to the fact that we missed one character with a disability from the movie How to Train Your Dragon.
We have updated our statistics and infographic accordingly. Several others have asked for a list of the winners, so here they are: Movies starring a protagonist of color: Independence Day, The Matrix Reloaded, I Am Legend, Men in Black, Hancock, Aladdin, Men in Black II, Men in Black III Movies starring a female protagonist: The Hunger Games: Catching Fire, The Hunger Games, Frozen, Alice in Wonderland (2003), The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, The Twilight Saga: Breaking Dawn Part 1, Brave, The Exorcist, Beauty and the Beast, Tangled, Monsters vs.
Aliens, Twilight Movies with a villain of color: Aladdin Movies starring protagonists with a disability: Avatar, How to Train Your Dragon Share this:
Title: Sci Art Color Analysis