In the sparkling world of The Great Gatsby, where wealth and ambition collide, there’s a group of characters who remain unseen, standing in the shadows of the American Dream. As the rich and powerful live their dream, the Black characters in the film are left to entertain and serve those elites, leaving their voices and dreams unheard. Is this portrayal a reflection of history, or does it reveal how the American Dream was, or still is, a dream that only some get to chase? Is it even attainable in the reality of Black people? Is it that they don’t work hard or are not determined enough? In the 2013 film version of The Great Gatsby, it is visible that the American Dream is not guaranteed to Black characters who are mostly shown in the background as entertainers, servers, or laborers, which is a sign of the dream of success that the film was mostly portraying, characters like Gatsby and Tom Buchanan are shown as wealthy men who have pursued their versions of American Dream but with the exclusion of black characters which highlights the racial boundaries. These roles reflect that black Americans are denied fair access to financial success, independence, and advancement and are instead considered laborers and servants of American elites. This paper aims to analyze the layers of racial exclusion in the American Dream, focusing on how the 2013 film adaptation of The Great Gatsby highlights the systemic barriers faced by Black people in America.`
First and foremost, Black characters are mostly shown as background figures or entertainers appearing in scenes at Gatsby’s parties or on the streets of New York City. This shows how black Americans are limited from achieving their success or enjoying such luxury parties. As Susan A. Klupchak argues, systemic racism within American institutions has created barriers that prevent Black individuals from accessing resources and opportunities vital to achieving the American Dream (Klupchak 38). In The Great Gatsby, this is reflected in how Black characters are only seen in supporting roles, highlighting the idea that they are secondary to the success and dreams of the white characters. A prime example is the jazz music played at Gatsby’s parties which is rooted in Black culture but is only seen as a background role meant to entertain the white, wealthy guests. The music is never given a story nor characters are given personalities which hinders Black characters from accessing resources, opportunities, and roles that would allow them to be seen or will enable them to showcase their talents or represent their uniqueness which gives the notion that the American Dream, as depicted in the film, is reserved for white elites, further perpetuating racial boundaries.
Additionally, Black characters are assigned to mere roles like entertainers, like musicians at Gatsby’s parties or workers in the Valley of Ashes, which confirms the stereotype that Black people are only good for serving others or entertaining them. This reflects America’s history of treating Black people as inferior and keeping them out of positions of power or influence. Keeping Black characters in minor roles emphasizes how the American Dream has traditionally excluded Black Americans from real opportunities for success and equality. Nathan N. Orians discusses how racial biases in American society often reduce Black individuals to stereotypes, denying them full access to cultural and economic integration (Orians 52). This exclusion is evident in The Great Gatsby film, where Black characters are assigned to roles that serve the enjoyment of white guests. The presence of Black musicians in Gatsby’s lavish party scenes, for instance, showcases the popularity of jazz which is deeply rooted in African-American experiences but the film does not recognize the musicians themselves or learn about the lives of the Black musicians or what their ambitions might be, showing a lack of acknowledgment for their contributions to both jazz music and American culture. The film uses jazz as a symbol of Black culture’s influence. Still, it doesn’t credit the musicians playing it, illustrating how Black contributions to American culture are often overlooked in the film. By reducing Black individuals to mere entertainers, the film reflects a society in which the contributions of Black Americans are valued only insofar as they serve the interests of white society.
Along with this representation, The Valley of Ashes is shown as a dirty, poor area where Black laborers work in tough conditions and this setting links Black Americans to low-paying, hard work, showing the gap between them and the wealthy characters, who are mostly white. The Valley of Ashes symbolizes the barriers that prevent Black Americans from moving up in society, showing how they face more barriers when trying to improve their lives. The hard work and poor living conditions of Black characters highlight the racial difference that keeps them from achieving success which is often associated with the American Dream. In the book “America On Film”, Benshoff and Griffin argue that “the use of poor settings, such as the Valley of Ashes, reflects the systematic exclusion of racial and economic minorities from the promise of the American Dream” (Benshoff and Griffin, 2004, p. 157). They highlight that these portrayals link marginalized groups to hard labor and poverty, reinforcing the idea that success is reserved for white characters. Such representation emphasizes systemic barriers, showing that access to wealth and upward mobility is racially and economically restricted. The Great Gatsby shows the Valley of Ashes as a polluted place which is very different from the clean and luxurious places where characters like Gatsby and Tom Buchanan live which underlines the racial inequality in the society and how Blacks are kept away from the success and wealth that white characters enjoy.
Nevertheless, critics can argue that the film shows Black characters in limited roles because it reflects the reality of the 1920s, not to marginalize them. At that time, Black people were often seen as laborers. The film might be showing this to stay true to history. However, this perspective doesn’t hold up because though the novel was written in the 1920s and may have reflected on racial practices, the 2013 film adaptation was made in the 21st century and aimed at a modern audience. It is visible that it’s a modern film which is not strictly a historical documentary, it features lavish and hyper-stylized party scenes. Benshoff and Griffin explain well that films often continue to show racial differences, even when they try to be historically accurate. They point out that films like The Great Gatsby give Black characters very small and stereotyped roles, which reinforces the idea that the American Dream is not for everyone. In the film, Black characters are shown with little power or importance, which sends a clear message about racial inequality (Benshoff and Griffin 157). This film had more to offer to the modern audience than assigning marginalized roles to Black characters and keeping them in background roles where nobody pays attention to their roles.
Moreover, The Great Gatsby film reflects on how Black people are addressed in their society today. In the film, Black characters are largely seen in background roles which represent a limited, stereotypical view of Black individuals and deny them the opportunity to be seen as full participants in the American Dream. For example, the Black musicians at Gatsby’s party play jazz music which is rooted in Black culture, but are seen only as background characters meant to entertain the white, wealthy guests. This lack of depth in Black characters highlights the persistent barriers that have historically kept Black Americans from accessing wealth, power, and social mobility. As Susan A. Klupchak discusses, the exclusion of Black voices and perspectives in American education and culture creates a system where marginalized groups are denied equal access to opportunities, reinforcing the racial divides that characterize the American Dream (Klupchak 2021). If these racial boundaries are not challenged, the American Dream will remain an unattainable fantasy for many, especially for Black individuals. The continued exclusion of Black characters from central roles in stories of wealth and success supports systemic racism, both in media and in the real world. As Nathan N. Orians says, the lack of representation of Black individuals in powerful and influential roles serves to encourage the idea that Black Americans are inferior and incapable of achieving the same success as white Americans. The limited portrayal of Black characters, whether as workers or entertainers, reflects broader social structures that limit Black Americans’ economic and social mobility, both in real life and in media representations (Orians 2020). In the film, the Valley of Ashes, an impoverished area that is home to Black laborers working in harsh conditions, visually confirms the idea that Black people are narrowed to low-status work. This setting reflects systemic barriers that hinder Black individuals from advancing beyond these roles, perpetuating inequality. Rather than confining Black characters to that setting where they are depicted as laborers, films like Hidden Figures showcase Black individuals in significant and impactful roles. The Hidden Figures focuses on three Black women such as Katherine Johnson, Dorothy Vaughan, and Mary Jackson who play essential roles in NASA’s achievements during the space race. This kind of representation acknowledges the character’s value and challenges the systemic biases that keep Black Americans on the margins. By giving Black characters only minor roles, The Great Gatsby shows a society where Black people are excluded from opportunities like wealth and success, which are part of the American Dream.
In conclusion, we need to change how Black characters are portrayed in films and media at large. This means moving beyond stereotypical roles like entertainers and workers and showing Black characters as complex individuals with their own stories of success, leadership, and personal achievement. As Klupchak argues, a more inclusive representation in media and education is critical to breaking the cycle of marginalization and creating a more equitable society where all groups have access to opportunities (Klupchak 2021). For example, in Black Panther (2018), characters like T’Challa, Shuri, and Nakia are shown as leaders, inventors, and warriors shaping their nation and influencing the world. This contrasts with The Great Gatsby film, where Black characters are relegated to background roles as laborers, reinforcing stereotypes. Similarly, in Hidden Figures (2016) film, Black women like Katherine Johnson are portrayed as pioneers in science, breaking barriers in a historically exclusive field. These films give Black audiences inspiring representations, showing them as part of narratives about power, influence, and success. By increasing the visibility of Black Americans in roles of power, success, and influence, we can begin to shift the narrative around the American Dream and make it more inclusive. Changing how Black characters are portrayed in the media will help break down racial barriers, create more opportunities for Black people, and move us closer to a future where access to the American Dream is truly equal for all.
Annotated Bibliography
Klupchak, Susan A. “Critical Race Theory : A Lens for Viewing Racism in American Education Policy and School Funding.” Smith ScholarWorks, scholarworks.smith.edu/theses/818.
Klupchak’s thesis uses critical race theory to challenge how U.S. education policies promote racial inequality, especially how school funding practices don’t favor minority students. Their thesis talks about how funding decisions are not just about money, but about how those policies support racism which keeps certain groups at a disadvantage. Klupchak’s research explains how historical legal cases have shaped school funding practices and examines current debates on education policy, focusing on racial equity. Klupchak argues that these funding issues are part of a larger problem of racial inequality in the education system. Her research helped me to somehow understand how these funding practices contribute to unequal educational opportunities for marginalized people.
This work is a useful resource to use when exploring racial boundaries within the American Dream. Her thesis shows how structural racism shapes policies that impact minority groups, similar to the racial hierarchies portrayed in The Great Gatsby. Klupchak’s analysis helps me think about how racial boundaries prevent black and persons of color characters from achieving the American Dream which people think that it’s everyone’s goal. Her perspective on institutional discrimination will help me argue how racial exclusion in the novel is a reflection of the reality that those marginalized individuals in communities face.
Orians, Nathan N. “Identity and Cultural Competency : Critical Race and Postmodern Perspective.” Smith ScholarWorks, scholarworks.smith.edu/theses/782.
Orians’s thesis combines both critical race theory and postmodern ideas to explore how identity and cultural understanding are viewed in the U.S. They look at how people’s picture of who they are is shaped by race, culture, and social experiences. Orians argues that understanding different cultures and identities is important for building an inclusive and fair community. By combining these two approaches, their research shows how race and culture affect people’s lives and interactions in the U.S., helping to explain how social systems and structures contribute to inequalities that exist in places. Their ideas focus on improving cultural competency and awareness to create a more inclusive society and address the challenges faced by minorities.
This paper helps me understand how racial boundaries in The Great Gatsby are created by social systems, similar to the way the American Dream works in the novel. His focus on cultural competency shows that the novel ignores non-white characters when presenting the American Dream. By using Orians’s ideas, I can argue that The Great Gatsby highlights how the American Dream ignores non-white characters, which reflects how non-whites are addressed in their societies. Orians talks about how social systems control identity and exclude non-whites from accessing some opportunities, which helps me recognize how the novel presents racial exclusion. This source will help me to analyze how the American Dream in the novel doesn’t include everyone, especially people of color.
Benshoff, Harry M., and Sean Griffin. America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. Wiley-Blackwell, 2004.
In this book, authors Harry M. Benshoff and Sean Griffin explore how Hollywood films portray social identities and often reflect or reinforce stereotypes. The authors discuss how films can support societal biases by frequently giving Black characters limited, subservient roles. This pattern serves to uphold racial boundaries, restricting Black characters’ influence and agency within film narratives. Benshoff and Griffin argue that by focusing on racial and social hierarchies, Hollywood has historically used movies to shape and limit society’s perceptions of Black people. The book provides a cultural and historical background for understanding how films play a role in maintaining stereotypes and reinforcing the social divide based on race, gender, and class. Through this perspective, Benshoff and Griffin emphasize how cinema impacts broader cultural ideas about race and identity.
Benshoff and Griffin’s book is helpful for my research because it connects the racial exclusion seen in The Great Gatsby to broader trends in Hollywood and American culture. Their argument that Black characters are often shown in limited roles mirrors what I see in the film adaptation of The Great Gatsby, where Black characters are not given central roles or significant agency. This book will be useful for understanding the larger context of racial boundaries in American cinema and will help strengthen my argument that the American Dream, as shown in the film, excludes Black Americans.