It is no longer enough to simply read and write. Students must also become literate in the understanding of visual images. Our children must learn how to spot a stereotype, isolate a social cliche, and distinguish facts from propaganda, analysis from banter and important news from coverage.
But race is an issue that I believe this nation cannot afford to ignore right now. We would be making the same mistake that Reverend Wright made in his offending sermons about America - to simplify and stereotype and amplify the negative to the point that it distorts reality.
It was an ongoing struggle to say no, I don't want to be a part of the perpetuation of this stereotype.
I think if I were a college professor, no one would say I was uncomfortable about being shy because that might be expected. But I think because of people's stereotypes, they think of a football player as someone who is very outgoing and I'm not.
You always hear 'black Republican,' but you never hear 'white Democrat.' We've got to get beyond the labels and stereotypes. Other people have hang-ups about it. I don't.
I've always thought that the stereotype of the dirty old man is really the creation of a dirty young man who wants the field to himself.
It is an old stereotype, that homosexuality has to do only with sex while heterosexuality is multifaceted and embraces love and romance.
Success on the front of women's rights will look like a world not only with obvious advances - where no girl is denied access to education, for instance - but also one with more subtle changes in how we regard gender and gender stereotypes.
Mother loathed the all-black B movies Hollywood made for the "colored" audience, where the stereotypes were broader and more offensive to her, and where the musical interludes did no justice to real talent, she said, but trivialized it.
I consider myself to be blessed. I have a family that is a mix of different religions and different ethnicities. I hope everyone can look beyond the bikini or beyond the whole beauty pageant stereotype of Miss USA, and realize that what I'm doing is more significant than just that. It represents the United States as a country of opportunity, where you can do anything you want to, and ethnicity and religion cannot stop you.
The other thing about the Nights is that it is quite racist. One parentheses is that I think this is one of the negative things that appeal to people, that The Arabian Nights could be used as a disguise for racism. It suited the West. You could smuggle racism into children's literature, you see. The African magician in the story of Aladdin, he's labeled explicitly as the "African Magician." He's not a character but a stereotype, and a lot of this got into nursery literature in this Oriental disguise.
I've been working a lot with identity and roots, being part of your roots. I went into this topic where I was trying to break the stereotype of Arabic language. The non-translation work, this is where I make the switch, where you don't need to translate.
Bengalis love to celebrate their language, their culture, their politics, their fierce attachment to a city that has been famously dying for more than a century. They resent with equal ferocity the reflex stereotyping that labels any civic dysfunction anywhere in the world 'another Calcutta.'
The male dares to be different to the degree that he accepts his passivity and his desire to be female, his fagginess. The farthest out male is the dragqueen, but he, although different from most men, is exactly like all other dragqueens; like the functionalist, he has an identity - a female; he tries to define all his troubles away - but still no individuality. Not completely convinced that he's a woman, highly insecure about being sufficiently female, he conforms compulsively to the man-made feminine stereotype, ending up as nothing but a bundle of stilted mannerisms.
America is the land of opportunity, and people can live in America and be who they want to be. Don't deny your faith. Don't deny your ethnicity. Don't stereotype Muslim women, because as you can see with me, or in Lebanon, for example, beauty is appreciated.
The Metallica film was like this incredible life experience where I learned the most through guys that stereotypically you would think couldn't offer much to you. That's what I love about the film: It explodes your stereotype of them - they're not just a bunch of lugheads banging on the guitar.
People are still people, and they make their decisions based on their life experiences and their beliefs. You really can't divorce the two. It's important to fight against stereotypes and oversimplifications in very complex people.
America is not the crude stereotype of a self-interested empire. The United States has been one of the greatest sources of progress that the world has ever known. We were born out of revolution against an empire. We were founded upon the ideal that all are created equal. And we have shed blood and struggled for centuries to give meaning to those words, within our borders and around the world. We are shaped by every culture. Drawn from every end of the Earth, and dedicated to a simple concept, E pluribus unum: Out of many, one.
Zombies don't run. They don't dance. They don't say, "More brains." There is no Thriller Night. Those are stereotypes that are perpetrated by Hollywood, which I think is very irresponsible because it can get you killed.
Especially in entertainment geared toward young people, the women are much stronger than they used to be. There's not really the damsel in distress anymore. I think the stereotype still possibly lives in different genre pictures but, in entertainment for the younger generation, they're used to women being equal and being strong. I think if you don't portray that, it would be kind of weird.
Genius discovers a system; average talent stereotypes it till it is shattered by fresh genius.
I'm more into the perception scope of a work; I'm exploring this concept of perception and how people can look at someone, look at the community, and put in so much judgment, so much stereotype, so much misconception.
I got a call from a mutual friend of ours, Charles King, who's also the executive producer. [Steven Caple Jr and I] had a conversation about it. I read it. We kind of finished each other's sentences when it came to the nuances and personality flaws that the character had, and some stereotypes and things we were trying to stay away from. We agreed on that as well. He just kind of allowed me to run rampant with the ideas. As we paced ourselves through, we developed Turquoise.
I don't want to be a stereotype; I want a character that's aspirational.
I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?
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