This paper had the goal to answer the question whether the depiction of Big Momma in Raja Gosnell’s movie Big Momma’s House can be considered as a contemporary depiction of the Mammy archetype or whether Big Momma and the Mammy indicate too many differences to be regarded to be indentical. After having illustrated basic characteristics of the Mammy icon, followed by an analysis of Big Momma in the movie, similarities as well as differences have become visible. First, Big Momma and the Mammy clearly differ in their work areas, however, only because the Mammy icon established many years before the publication of the movie. While Big Momma works as a midwife, helping other mothers during their pregnancy and at childbirth, the Mammy represents
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Both represent a very tall, broad-shouldered, obese, and nearly black-skinned African American woman. Particularly here, multiple scholars criticize that, in his film, Raja Gosnell focuses too much on old stereotypes of African American women. Exemplarily Deborah Harris-Moore argues, “[such] films echo historical racist assumptions about black women’s bodies and their uncontained sexuality” (2014: 95). Indeed, the Mammy as well as Big Momma are clearly de-sexualized by having exaggerated features like exceedingly large breasts and buttocks. Unfortunately, the idea of representing the Big Momma and the Mammy as a person of extraordinary, even masculine strength, ensues in a wrong image of African American women, which is frequently used in black popular culture (cf. Harris-Perry, 2011: 279). However, taking into account that only Big Momma is portrayed in an exaggerated manner, director Raja Gosnell may have used these typical features to add some comedic relief for the viewers’ entertainment. Nonetheless, it is morally questionable to continue starring African American actors, underlining ancient African American stereotypes and thereby, mocking the black community. This mockery is further underlined by the usage of fat suits, alias drag performances, alluding definitely to ancient minstrel shows, where white actors played stereotypical black people. Although in Big
Both represent a very tall, broad-shouldered, obese, and nearly black-skinned African American woman. Particularly here, multiple scholars criticize that, in his film, Raja Gosnell focuses too much on old stereotypes of African American women. Exemplarily Deborah Harris-Moore argues, “[such] films echo historical racist assumptions about black women’s bodies and their uncontained sexuality” (2014: 95). Indeed, the Mammy as well as Big Momma are clearly de-sexualized by having exaggerated features like exceedingly large breasts and buttocks. Unfortunately, the idea of representing the Big Momma and the Mammy as a person of extraordinary, even masculine strength, ensues in a wrong image of African American women, which is frequently used in black popular culture (cf. Harris-Perry, 2011: 279). However, taking into account that only Big Momma is portrayed in an exaggerated manner, director Raja Gosnell may have used these typical features to add some comedic relief for the viewers’ entertainment. Nonetheless, it is morally questionable to continue starring African American actors, underlining ancient African American stereotypes and thereby, mocking the black community. This mockery is further underlined by the usage of fat suits, alias drag performances, alluding definitely to ancient minstrel shows, where white actors played stereotypical black people. Although in Big