This research explores the intersection of philosophy, sociology, and film theory to analyze the visual representation and meaning of guns within the context of the Black community in film. The authors contend that while film can highlight the ironic history of racism in gun control and the Black community's pursuit of justice, it simultaneously reinforces structural racism and bias. The study focuses on how the gun, as a theatrical object, is portrayed in film, examining its symbolic meaning and its role in perpetuating negative stereotypes. The paper is structured in three acts: Act I examines the gun as a symbol of structural racism; Act II analyzes stereotypical characters and their use of guns in three selected films (*Django Unchained*, *John Q.*, and *Proud Mary*); and Act III offers recommendations for desegregating the gun in film by critically examining film texts and audience perception.

The paper draws upon existing literature on gun ownership and display, examining the theatricality surrounding gun use and its connection to violence. It cites Livingston's work on the Cliven Bundy standoff, highlighting how theatricality and racist views intersect with gun ownership. The authors explore the historical context of gun representation in film, starting from race films of the early 20th century, moving through the Civil Rights era and the blaxploitation genre, and finally examining contemporary films. They analyze the evolution of stereotypical Black character tropes and how the presence of guns further exacerbates these stereotypes. The review encompasses scholarly works on media representation theory and reception theory, providing a framework for understanding how film constructs and represents Black identity and how audiences interpret these representations.

The authors employ a qualitative research method centered around a close textual analysis of three contemporary films: *John Q.*, *Proud Mary*, and *Django Unchained*. These films were chosen because they feature well-received Black actors in lead roles wielding guns, allowing the authors to explore the interplay between established stereotypes and attempts to address racial issues. The analysis focuses on how the gun's symbolic meaning shifts depending on the character wielding it and the narrative context. The selection of these films is justified by the filmmakers' attempts to address racism and improve diversity, highlighting a continued reliance on stereotypical character tropes. The authors analyze each film individually, examining the character's motivations, the gun's symbolism within the narrative, and how the combination contributes to the perpetuation of racist stereotypes. They apply media representation theory and reception theory to understand how the films are produced, interpreted, and received by different audiences, recognizing the possibility of oppositional and negotiated readings of the films' messages. The analysis considers various stereotypical character tropes such as the Saintly Negro, Vigilante, Magical Negro, Uncle Tom, Mandingo, Jezebel, and Black Mammy, showing how the portrayal of these tropes and the presence of guns reinforces negative stereotypes and contributes to the segregation of film audiences.

The analysis reveals that despite the film industry's attempts to address racial discrimination and racism, guns in the hands of Black lead actors continue to reinforce racial stereotypes. In *John Q.*, Denzel Washington's character, while seemingly fighting for social justice, embodies the Saintly Negro and Vigilante tropes, ultimately reinforcing the idea of a violent, unpredictable Black man. *Proud Mary*, featuring Taraji P. Henson, presents a complex character whose gun initially symbolizes power and independence, but ultimately shifts to represent the Black Mammy archetype, highlighting a caregiver role rather than full empowerment. *Django Unchained*, while critically acclaimed, utilizes various stereotypical tropes (Uncle Tom, Mandingo, Jezebel, Black Mammy), demonstrating how even films attempting to confront slavery can inadvertently perpetuate racial stereotypes through character portrayal and dialogue. The use of guns in each film amplifies existing racial stereotypes, contributing to a representation of Black characters as inherently violent or threatening. The authors highlight the double trauma experienced by Black actors who portray these stereotypical roles, impacting both their work and personal lives. The study points out that despite attempts to progress, many films rely on these archetypes, perpetuating racial biases and audience segregation. The authors find few contemporary films with gun-wielding, lead Black actors in diverse genres, reinforcing the limitations and biases in the industry.

The findings indicate that the presence of guns in the hands of Black characters, even within films that attempt to address racial issues, often serves to reinforce negative stereotypes and perpetuate structural racism. This is due to the historical context of gun ownership in America, which has historically excluded Black communities. The films analyzed, while diverse in genre, reveal a persistent reliance on established character tropes, leading to predictable and problematic representations. The authors' analysis reveals a disconnect between the filmmakers' intentions and the audience's interpretation, highlighting the importance of considering the power dynamics at play within media representation and reception. The authors argue for a critical examination of film texts and audience perception, advocating for more equitable and nuanced representations of Black characters in film.

The study concludes that the film industry needs to critically examine its representations of race and the role of the gun in perpetuating stereotypes. The authors emphasize the importance of eliminating stereotypical character tropes and promoting complex character development. They suggest that filmmakers should be cognizant of the overt and hidden messages conveyed in their films and utilize media representation and reception theories to analyze the production and reception of their work. Future research could explore the effectiveness of different strategies for creating more equitable representations, considering diverse audience responses to films with various levels of overt and implicit racial messaging.

The study is limited in its scope, focusing primarily on three selected films and a specific thematic analysis. The findings may not be generalizable to all films portraying Black characters with guns. Future research could expand the analysis to a wider range of films and genres, employing a larger and more diverse sample of audience members to gain a more comprehensive understanding of audience reception.