2011 August 5, HHH, “Re: Laurence Fishburne Cast as Perry White”, in rec.arts.comics.dc.universe[1] (Usenet), message-ID <Xns9F38C3AFE97DDYHVH@88.198.244.100>:
More anti-white racebending from the jews that control Hollywood.
2011 October 25, Charlie Jane Anders, “More Asian Science Fiction and Fantasy Movies that Hollywood Could Totally Whitewash”, in io9[2], retrieved 2012-12-10:
The Last Airbender wasn't punishment enough. Whatever we did to deserve Hollywood's "racebending" shenanigans, we've still earned more suffering.
2012 November 6, Bob Chipman, “The Big Picture: Skin Deeper”, in The Escapist[3], retrieved 2012-12-10:
And the fact is, in this world, white actors playing characters of different races is a thorny issue because a) it means the denial of work to non-white actors for whom choice roles are hard enough to come by unless your name is Will Smith, Denzel Washington, or you're willing to debase yourself in a Tyler Perry production, and b) it calls to mind the ugly, deplorable history of blackface performances in early Hollywood. In other words, it's completely understandable why quote unquote racebending by white actors is reflexively seen in a negative light, because it is a negative thing.
Hilarity ensues as the director tries to justify his decision with famous racebending examples from Hollywood (The faux slit-eyes in Cloud Atlas, anyone?).
2014, Zhana Johnnson, "Bend It Like Jordan", The Xavierite (Saint Xavier University), Volume 83, Number 17, 26 February 2014, page 9:
Not only did the producers cast actors in their late twenties but also had the audacity to assign Michael B. Jordan (Fruitside Station, That Awkward Moment) to the role of the Human Torch/Johnny Storm.
What has happened here is a wonderful example of racebending.
2015, William Hart, "Racebending: Race, Adaptation and the Films I, Robot and I Am Legend", in The Fantastic Made Visible: Essays on the Adaptation of Science Fiction and Fantasy from Page to Screen (eds. Matthew Wilhelm Kapell & Ace G. Pilkington), McFarland & Company (2015), →ISBN, page 220:
Why do adapters racebend? What is the purpose of racebending? Surely one of the reasons is economical. Changes in the demographics of the viewing audience means that films need to have more diverse casts.
2015, Kristen J. Warner, "ABC's Scandal and Black Women's Fandom", in Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century (ed. Elana Levine), University of Illinois (2015), →ISBN, page 39:
As an example of racebending on a different level from that of fandom but which still utilizes a similar approach, in 2005, Denzel Washington portrayed Julius Caesar in a revival of Shakespeare's play.
The pervasive downplaying of Asian talent is evident in cases of 'racebending', too: the term was coined after fans were disappointed with the casting for The Last Airbender (M Night Shyamalan, 2010), […]
Noun: "the act of presenting oneself as of a different race or ethnicity than one's own, especially online"
2005 October 3, Mica Pollock, Colormute: Race Talk Dilemmas in an American School, Princeton, Woodstock: Princeton University Press, →ISBN, →OL, page 215:
Instead, we can foster a necessary practice of strategic race-bending—that is, of alternately defying and strategically using race categories to describe human beings.
2000 September 1, Robert S. Chang, Disoriented: Asian Americans, Law, and the Nation-State, NYU Press, →ISBN, →OL, page 124:
But while gender-bending — and for that matter, race-bending — may indeed "do" important political work, we must approach such performances with caution.
