Bogle describes the “era of tan” as “a time when films did all they could to make audiences forget the blackness of a black star” (242). Coming after Hollywood’s oversaturation of the market with blaxploitation films in the seventies, the wrong lesson was learned — as is often the case in the industry, and studios concluded that the Black Audience was dead. Instead, Hollywood became enamored with the crossover film — featuring Black and white performers, but purely concerned with accumulating the largest profit from any and all audiences. The Era of Tan is the epitome of this approach; the industry’s attempt to get points for the inclusion of Black actors without these actors being too Black for racist white audiences.
In the modern day, these tropes are still a large part of the conversation. Colorism still dominates discussions, especially with white cinematographers often failing to properly light Black skin, and the “crossover film” does not look like it will go away any time soon. It was only a few years ago that Spike Lee stormed out of the Oscars after Green Book — a classic crossover film that fabricated historical elements to portray a Black and white buddy story and to warm the white heart — took home the award for Best Picture. Thankfully, though this trend continues, more Black filmmakers have continued to break boundaries and establish their identity in American cinema. Ryan Coogler’s Creed inverted the plot of the original Rocky, making the main character a Black man whose story is told by a Black director. The past weeks this year saw the release of The Woman King, a historical epic helmed and lead by Black women.