Who Will Police the Police?

By Professor Priscilla Ocen

This op-ed originally appeared in the Los Angeles Daily Journal on Sept. 22.

In August, Ferguson, Mo. — a small, predominately black suburb of St. Louis — erupted in protest after the shooting death of Michael Brown, an unarmed black teenager, by a white police officer. Following the shooting, Brown’s body lay prone on the street for hours, visible to neighbors and passersby as a gruesome reminder of the violent end to his young life. Brown’s death at the hands of police, however, was only one of many this summer. In New York, Eric Garner, another unarmed black man, was killed after he was placed a chokehold by members of the New York Police Department. In Los Angeles, Ezell Ford, an unarmed, mentally disabled black man, was shot and killed by members of the Los Angeles Police Department.

The deaths of Brown, Garner and Ford are not isolated incidents. According to the FBI, police officers, on average, kill over 400 people per year in what were determined to be “justifiable homicides.” This figure, however, likely underrepresents the number of police killings as it only includes self reported data from less than 10 percent of police departments and only those killings that have been deemed justified. Nevertheless, it is clear that the burden of deaths in police custody has fallen disproportionately on African-Americans. Annually, nearly a quarter of the 400 killings involve African-Americans. This means that African-Americans are killed by police almost twice a week in the United States. Indeed, in a recent report by Mother Jones magazine, it was found that blacks are roughly four times as likely as whites to die during arrest or while in police custody.

While the killing of African-Americans by law enforcement officers is a tragically common event, criminal penalties for police officers accused of killing African-Americans are startlingly uncommon. In one study of 21 high-profile shootings of unarmed African-Americans, only three officers were successfully prosecuted. As both St. Louis County and federal officials investigate the shooting death of Michael Brown, what kind of outcome should we expect if a criminal case is ultimately filed?

Marissa Alexander and Overpolicing and Underprotection of Black Women

By Associate Professor Priscilla Ocen

This op-ed originally appeared on Ebony.com.

Marissa Alexander is a 33-year-old African-American woman who stands accused of three counts of aggravated assault with a firearm after firing a warning shot to ward off a violent husband whom she believed was attempting to kill her. The shooting occurred after her husband assaulted her multiple times---once landing her in the hospital with head injuries---and after he made credible threats to kill her. Nevertheless, a Florida state court rejected her self-defense argument, specifically the “Stand Your Ground” defense. Angela Corey, the same state prosecutor who unsuccessfully prosecuted the killers of Trayvon Martin and Jordan Davis for murder, is now seeking to imprison Alexander for up to 60 years, effectively placing a life sentence around a Black woman who—unlike George Zimmerman and Michael Dunn--had every reason to believe her life was in danger.

Read the complete op-ed.

Whose Version of 'Diversity' Did the Oscars Celebrate?

By Associate Professor Priscilla A. Ocen and Khaled A. Beydoun

This op-ed originally appeared on AlJazeera.com.

In many ways, Hollywood is a fenced-off community. It serves as the guardian of public accolades for excellence in film and representation. Yet, its gatekeepers are still overwhelmingly white, male and old, while the world it seeks to depict is the opposite. The Academy of Motion Picture Arts and Sciences is no different from broader trends in Hollywood itself. The voters who determined the winners of the 86th-annual Academy Awards on Sunday, March 2 are a testament to the white homogeneity and hegemony in Hollywood.

People of color have always been on the margins of Hollywood. Oscar nods to Hattie McDaniel, Sidney Poitier, Denzel Washington, Halle Berry and Jamie Foxx were generally lauded as moments of racial progress, allegedly highlighting an industry moving away from racial exclusion and toward diversity.

Unmasking the meaning and motivations behind Hollywood “diversity” reveals that gatekeeper politics – not racial progress – dictates which people of color are let inside, and the shape, complexion and color of the faces that remain fenced outsides Hollywood’s gates.

Inside the Gates: Oscar Voters are White and Male

One can drive from Hollywood’s Dolby Theatre, the site for the Oscars, and easily take a route through a tapestry of Asian, Black and Latino neighborhoods. Yet, the images that are often celebrated within spaces like the Dolby Theater obscure or outright misrepresent the lives of people who live in communities of color, often relying on tired and outdated stereotypes.