As important carriers of cultural communication, works of art and film and television works have strong emotional resonance and cognitive shaping capabilities. To guide the audience to prejudice or discriminate against specific groups through such media is essentially a deviation from social responsibility and may cause ethical disputes. However, as an academic discussion of the problem, it can analyze negative cases in history or in reality and summarize their potential mechanisms.： --- ###1. **Symbolization and stereotype construction** 1. **Simplify group characteristics**: By repeatedly presenting the single behavior of a certain group in a specific scene (such as crime, laziness, ignorance), ignoring the complexity of its social background, strengthen the relevance of “group as characteristic”. 2. **Labeling of visual symbols**: Use exaggerated costumes, accents, or body language symbols (such as the negative presentation of specific skin colors and religious costumes) to abstract groups into recognizable “other” symbols. --- ###2. **Manipulation of narrative strategy** 1. **Role functionalization**: Group members are limited to single-function roles (such as villains, victims, and service providers), depriving them of their humanized multi-dimensional portrayals. For example, villains are often given the appearance characteristics or cultural symbols of a certain ethnic group. 2. **Misleading causality**: Attributing social problems (such as poverty and crime) to group “essential defects” rather than structural factors (such as racial discrimination and economic oppression). For example, the problem of unemployment is blamed on the “looting of resources” by immigrant groups. 3. **Empathy blocking**: Through lens language (such as top-down angle, dark tones) or plot design (such as the description of suffering that lacks the protagonist's perspective), the audience's emotional resonance with the group is weakened. --- ###3.**Endorsement of cultural authority** 1. **One-sided historical narrative**: Selectively presents historical events and shapes specific groups as “eternal threats” or “the opposite of civilization”" For example, the barbaric depiction of aborigines in colonial movies. 2. **Pseudo-rationalization of science or religion**: Borrowing pseudo-scientific theories (such as racial superiority and inferiority theory) or distorted religious teachings to package prejudice as “objective truth”. --- ###4. **Strengthening of the communication environment** 1. **Information cocoon room effect**: Through an algorithmic recommendation system, similar biased content is continuously pushed to the target audience to consolidate its cognition. 2. **Entertainment digestion**: Deliver discriminatory content in easy forms such as comedy and satire to make it more acceptable. For example, gender or racial stereotypes are strengthened through “jokes”. --- ### Ethical Reflection and Criticism The above methods essentially achieve their goals by manipulating cognitive biases (such as confirmation bias, group classification) and emotional resonance, but such practices may lead to the following consequences： -**Social tearing**: Exacerbating confrontation and hatred between groups, such as anti-Semitic propaganda movies during the Nazi period. -**Cultural hegemony**: Consolidate inequalities in the power structure through artistic creation, such as Hollywood's early stereotyping of Asian characters. -**Trampling on the dignity of the individual**: Simplify complex human beings into labels and deprive them of their value as independent individuals. --- ### Conclusion The freedom of artistic creation needs to be balanced with social responsibility. Historically, many works have successfully dispelled prejudice through anti-stereotype narratives (such as "Green Book" and "Hidden Figures"). Creators should be wary of unconscious bias penetration, while audiences need to cultivate critical media literacy to resist hidden ideological manipulation.