By Harry M. Benshoff, Sean Griffin
America on movie: Representing Race, classification, Gender, and Sexuality within the video clips, 2d Edition is a full of life advent to problems with variety as represented in the American cinema.
• offers a accomplished assessment of the commercial, socio-cultural, and aesthetic elements that give a contribution to cinematic representations of race, type, gender, and sexuality
• contains over a hundred illustrations, word list of keyword phrases, questions for dialogue, and lists for extra reading/viewing
• contains new case reports of a couple of motion pictures, together with Crash, Brokeback Mountain, and Quinceañera
Read or Download America on Film: Representing Race, Class, Gender, and Sexuality at the Movies PDF
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Extra info for America on Film: Representing Race, Class, Gender, and Sexuality at the Movies
35 Some films are black comedies and must be understood according to that form. Other films are dramas to be taken seriously while still others try to make us laugh by being deliberately juvenile. Yet other films try to shock or provoke us with new and unexpected ideas. Analyzing a movie's literary design is a good place to start when analyzing a film, but one should not ignore the four other axes of film form and how they contribute to a film's meaning. Another broad aspect of film form has been labeled mise-en-scène, a French term for what goes into each individual shot (or uninterrupted run of film).
For example, Native Americans have historically had less opportunity than Anglo Americans to get the funding or training necessary to make films or television programs. Consequently, the white man's version of “how the West was won” has been filmed and televised literally thousands of times, while Native Americans have had very little chance to present their viewpoint of that era on film or video. The culture of any marginalized or minority group is often labeled a subculture. Subcultures can have their effect on the dominant culture by contributing to the active hegemonic negotiation of dominant ideology, but usually this only happens to the extent that a subculture's concerns can be adapted to the needs of the dominant ruling interests.
It is the first synthetic and historical text of its kind, and provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that have shaped and continue to shape cinematic representations of race, class, gender, sexuality, and physical ability. The book aims to chronicle the cinematic history of various cultural groups, stimulate discussion of human difference, examine forces and institutions of bias, and ultimately provoke thought about the relationship between film and American national culture.
America on Film: Representing Race, Class, Gender, and Sexuality at the Movies by Harry M. Benshoff, Sean Griffin