Tamara Winfrey Harris

Tamara Winfrey Harris is a writer who specializes in issues of race and gender, and their intersection with pop culture and politics. She is working on a book about the racist and sexist underpinnings of the "black marriage crisis."

Recent Articles

12 Years a Female Slave—Not Coming to a Theatre Near You

We can't fully understand American slavery and its legacy without mining the diversity of enslaved experience in scholarship as well as film.

AP Images/Fox Searchlight
AP Images/Fox Searchlight O nce again, America is reckoning with its original sin of slavery—this time with the critically-acclaimed movie, Twelve Years a Slave, which had its nationwide release last week. The movie has been lauded for its uniquely unflinching look at the brutality and inhumanity of slavery. What is not so unique about the unquestionably affecting film is that it tells the story of an enslaved man . When will we see a mainstream, big screen film that explores American slavery from an enslaved black woman’s perspective? The few cinematic glimpses into the black, female slave experience have been rendered mostly through independent films and television or as a part of stories more broadly focused than slavery. The 1974 TV movie, The Autobiography of Miss Jane Pittman , based on the Ernest Gaines book, begins with the eponymous Jane being freed post-Civil War. Cicely Tyson, the actress who portrayed Pittman, also played escaped slave and abolitionist Harriet Tubman in...

Why Liberals Love TV's Fictional Conservatives

AP Images/ABC/Eric McCandless
AP Images/ABC/Eric McCandless When the third season of Scandal premieres tonight, you can bet I’m going to be glued to my set (and Twitter feed) like millions of other Americans. Shonda Rhimes creates mighty good, sexy, nail-biting, oh-my-sweet-God-that-didn’t-just-happen TV. But, good liberal that I am, I can’t help feeling that my love of ABC’s hit show should be attended by some guilt. No, not because what Rhimes calls “fluffier” entertainment is inherently inferior; I don’t feel guilty about it in that sense. But instead because beneath plotlines like that of black political fixer Olivia Pope’s interracial love with the white president and a gay White House Chief of Staff raising a baby with his husband, Scandal is, in essence, the story of an allegedly apolitical (amoral?) woman who routinely abets an illegitimate conservative administration, complete with a radical Evangelical vice-president a heartbeat away from being president. Rhimes and Co. have me rooting for these people...

A Twerk Too Far

AP Images/Charles Sykes
AP Images/Charles Sykes A t last week’s MTV Video Music Awards, Miley Cyrus continued her journey to adulthood, aided by proximity to popping black female asses. The former Hannah Montana star sparked a national dialogue about rich white girls borrowing empowerment from "low" black culture. The conversation we need to have about cultural appropriation is thorny and complicated—and necessary. But in the heat of a pop-culture moment, the significance is trivialized, reduced to the mere shock of a wiggling, latex-clad derriere pressed against Robin Thicke’s manhood. And ideas that support useful dialogue get lost in the scrum. It is impossible to have a meaningful discussion about cultural appropriation without first understanding the difference between inspiration and minstrelsy, the diversity of American racial experiences, and what we have a right to expect from white artists influenced by other cultures. One thing glaringly absent from last week’s breast-beating was recognition of...