What Dear White People says to us about film, race and politics

Without putting too fine a point on it, we live in a racist world. And that's not just a reference to the rise of UKIP and far right politics here in the UK. 
This month- 17th October to be exact- sees the arrival of Dear White People, one of the most talked about box office releases in recent times. Critics are hailing this satirical sideswipe at racial rhetoric in 'the Obama age' as a triumph, a witty statement about the hypocritical attitudes exhibited by all peoples. And, on the face it, we're certainly looking forward to watching a story about kids at Winchester University engaging in debates over ethnicity, hierarchies and hegemonies through a veil of sarcasm and dry humour. 
In many ways the flick is very much a movie of our era. To say we are now Post-Ferguson is pushing things a bit far. When police brutality and endemic prejudices in Missouri fell under the glare of international media it's impossible to deny the stir that controversy caused. Subsequently, to use a wholly British phrase, bobbies have been told to get on the beat and engage with the community that felt so neglected, disenfranchised and subjugated by those same authorities. Call it a bridge building exercise or PR stunt, either way, to the untrained eye, this looks like change is very much in the air above what must be this year's most-disgraced American city and state.
Yet it's important not to forget that we're now 22 years after Rodney King fell foul of the LAPD's skinhead approach to law enforcement, and despite the lessons claimed to be learnt from that case, in August of this year the very same police department was accused of executing an unarmed black man named Ezell Ford, and even went so far as to purposefully delay the ensuing autopsy report. Meanwhile, in St. Pauls, Minnesota, Chris Lollie had the misfortune of police using a stun gun on him as he waited to pick up his kids outside a bank in another reportedly racially motivated act. Whichever way you look at it, this doesn't sound like that much progress has been made in the decades since Mr. King inspired riots across America's second most populous city. And, with that in mind, a major flick that looks to openly engage in debate through narrative fiction on the subject of ethnic biases should be welcomed.
Unfortunately, though, there is a problem. 
First of all, let's examine the Hollywood studio system as it exists today. Lionsgate, the entertainment company behind Dear White People, is certainly not amongst Tinsel Town's worst organisations. The Canadian-American firm, headquartered in Santa Monica, has been responsible for plenty of great cinema seeing the light of day, yet this is still very much a firm involved in what remains an industry that refuses to move away from the standard white patriarchal model. Which may sound rather spurious, but consider the difficulties directors such as Spike Lee had in gaining distribution deals when he was still making genuinely inspiring films that asked questions about politics, society and the status quo. Then think about whether contemporary fare that purports to promote open debate actually serves this purpose. Or, instead, do most movies in which the important subjects are 'dealt with' simply gloss over or, worse still, actually reinforce stereotypes and draw yet more lines in the sand?
Sceptical about all that as we are, though, this isn't the issue we take with Dear White People. Without watching what happens first hand it's impossible to point accusatory fingers and wax lyrical on the ills of Hollywood movies that try to convince us they are here to get people thinking, when all that's happening is another attempt at making a shed-load of cash by appropriating controversial subjects for the sake of entertainment. One look at the marketing campaign being used to support the release should give some clue as to where this spiel is really heading. 
As part of the promotional push, the decision makers behind this particular film have decided to team up with VISA and offer social networkers everywhere the chance to win a £500 pre-paid gift card simply for sharing the trailer online. The result of which has been the aforementioned two-minute clip doing plenty of rounds, meaning an abundance of people are currently sitting tight with their fingers crossed waiting to see if they have won said plastic cash. But what's the real reason they have spread the word about the release- potentially important content and message, or the money that's up for grabs? 
In many ways then, this is really an indictment of the superficial way in which many members of the public approach what's actually important. Thrust a stack of notes under noses and most people will simply ask how high those offering the reward want them to jump. It's a bonus if that reward is being given for partaking in an action that could have a positive impact. Given Dear White People is being positioned as a film that dares to incite the kind of conversations the world should be having about attitudes, civil rights and liberties, and the way the population views their peers, is it a good idea to jump into bed with a firm intrinsically tied to a flawed, failed and broken financial system- the exact same industry that notoriously obstructs the kind of equality and progress this movie supposedly wants to inspire? 
So what does Dear White People say to us about film and politics? Well, not much, other than the twain can rarely meet and achieve anything significant when big studios and even bigger sponsors are involved.