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Cultural analysis: The Maury Povich show

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  1. Introduction.
  2. Images and Representation of the Black guests.
    1. Over representation.
    2. Voyeurism and commodification of ethnicity.
    3. The Sambo and other ?classic? images of black people.
  3. The Representation of woman.
  4. The Representation of the White man.
  5. The Factor of the Audience.
  6. Conclusions.

The Maury Povich show is a television programmed that has been syndicated to networks since 1991, hosted by Maury Povich (IMDB). His most popular ?theme? of his series is paternity tests for woman, or their man who is involved in a dispute surrounding the baby's father (Wikipedia). It is with this theme in mind that I will specifically discuss some of the images and representations of its black and ethnic guests, white guests, and the host (Maury Povich, Episode 57). Using ideas of cultural literacy, or looking at representations and images and seeing them as truth inside culture, these representations on the Maury show will be expanded upon for greater meanings, implications, and intent. The Black, female, and white guests will be examined for differences in representation as well as for classical re-representations. Finally, the importance of the audience will be discussed followed by conclusions about these examinations.

[...] of Ethnicity One of the most addicting and entertaining aspects of the Maury show is the intimate and complete intrusive view the audience has into matters which in normal circumstances do not leave one's closes circle of involvement. A black woman sitting, facing the ground, hands together with her fingers fighting, she's obviously uncomfortable. Maury starts, ?Sholanda, this is your 4th time back to the show, the three men we've tested were not the father of your baby (baby's picture on the screen behind Maury and Sholanda), you say this man is for sure?. [...]

[...] The images of black men on Maury seem to mirror the classical sambo and the new sambo as identified in modern representation. Just like Spike Lee's Bamboozled, the modern sambo is the puppet of white corporate America, the gangster (Mos Def), the classic Sambo (man man), and the ?white washed? black producer (DeLa). All reproductions of the classic image, they fit hand in hand with Maury's black male (another idea that is ridiculous, would Maury ever have these people as Picture the man dancing post-paternity information is the image we will discuss in depth as a comparison with the old and new sambo. [...]

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