By Harry M. Benshoff, Sean Griffin
America on movie: Representing Race, type, Gender, and Sexuality within the video clips, second Edition is a full of life advent to problems with range as represented in the American cinema.
• presents a finished review of the commercial, socio-cultural, and aesthetic components that give a contribution to cinematic representations of race, classification, gender, and sexuality
• comprises over a hundred illustrations, word list of keyword phrases, questions for dialogue, and lists for additional reading/viewing
• contains new case stories of a couple of movies, together with Crash, Brokeback Mountain, and Quinceañera
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Extra resources for America on Film: Representing Race, Class, Gender, and Sexuality at the Movies
Consequently, if certain population groups can be considered “alienable,” then it becomes 43 easier to feel that they are not entitled to those “inalienable rights” that “We the People of the United States of America” have supposedly been granted. While women, homosexuals, the differently abled, and people of non-white heritage have made tremendous gains in social power during the last few decades, white heterosexual men still dominate the corridors of power in America. ) is called an ideological assumption.
According to our cultural studies model, the cultural artifact The Lion King is the text under consideration, its producer is the Walt Disney Company (the animators, performers, and other employees involved in making the film), and the readers are all the people who have seen the film since its release in 1994. The Disney filmmakers encoded meaning into the cartoon, and every viewer, whether preschooler or senior citizen, 63 works to understand the text by decoding it. The film was arguably as popular as it was because it playfully and joyfully encoded dominant hegemonic ideas about white patriarchal capitalism into its form and content: the film's story is a coming-of-age tale in which Simba, a young male lion, learns that his proper place in the world is to be the leader of those around him.
For example, specific early twentieth-century patriarchal ideologies were 48 challenged and changed when women won the right to vote in 1920, but that did not destroy the hegemony of American patriarchy. Thus, the dominant ideology of a culture is always open to change and revision via the ebb and flow of hegemonic negotiation, the processes whereby various social groups exert pressure on the dominant hegemony. In another example, over the last fifty years, American civil rights groups have worked to expose and overturn the entrenched system of prejudice that has oppressed their communities for generations.
America on Film: Representing Race, Class, Gender, and Sexuality at the Movies by Harry M. Benshoff, Sean Griffin