In the movie Krush Groove there were several different hip-hop artists. The movie was focused around Russell Simmons and Run-DMC. The movie showed the struggle of early hip-hop artist trying to make it. The movie showed how Def Jam was started and all the different artist and individuals who helped get Def Jam where it is today. When the movie started it showed Run DMC performing “King of Rock” in the studio. This set the tone by showing you who these individuals are and what they are setting out to do. Jam Master Jay was also in this movie and he mixed the records for Run DMC. Kurtis Blow was another artist that was in the movie. Kurtis Blow performed several times in the movie. The one that stood out to me was when he performed “If I Ruled
... acoustic jam that had the crowd swaying to its lifting rhythms and happy-go-lucky lyrics. He then promised to play a little bit of “East Coast and West Coast hip-hop,” a promise he fulfilled near the end of his set by covering a song from both A$AP Rocky and Kendrick Lamar.
The film Hip-Hop: Beyond Beats & Rhymes is directed by filmmaker Byron Hurt. The film was released on January 24th, 2006. Hip-Hop: Beyond Beats & Rhymes is a documentary that looks at issues within hip-hop issues such as masculinity, sexism, violence, and homophobia. The problem I see in hip-hop/rap culture is the promotion of violence, sexism, and homophobia. Most artists don’t practice what they preach or rap about. They might rap on a track promoting gun violence to teens but the same rapper never touched a gun and he has a degree. Many artists also down play the effects their lyrics have on the youth.
The black experience is one that always needs to be told. There is always a new story because much of Black history has been omitted from American History. More recently, Singer/Producer John Legend inked a deal with WGN to develop a dramatic series on this very story. Underground, a black slavery experience, became WGN’s highest rated series in the station’s history, outpacing WGN America’s 2015-2016 primetime average by 508 percent in total viewers and 1,005 percent among adults 18-49 in live-plus-seven viewing (DVR). Netflix’s 13TH, a documentary which tackles race and mass incarceration, was the first non-fiction film to open the prestigious NY Film Festival in its 54-year history. There is already talk about it being an Oscar nominee. Currently, the American public is about 40 percent minority and that’s increasing by about half a percent every year. The viewing audience
The film "Garden State" is an eccentric drama; in addition, a romance comedy, with a slew of complex, innate cast of characters, each deeply entrenched in profound emotional and psychological scars, ascending from the regrets of their past. The film is a reflection, on rediscovering yourself after years of goalless ambiguity. Writer/Director Zach Braff, stars as the films’ chief character, Andrew Largeman. In James Berardinelli’s movie review, he said: “Garden State is one of those movies that fails to stay with the viewer for an extended period of time. It 's a forgettable film featuring a throw-away story with unmemorable characters and unremarkable performances.” I must disagree; although "Garden State" can be a tad somber, moody and too subtle for many viewers. Yet, the film is fantastically intriguing, by arousing viewers thoughts, and stimulating ones emotions, and that 's exactly what draws viewers in. Since the storyline requires viewers to dig deeper into the subtle undertones and symbolisms
In 1979, the album Rapper's Delight by the American group the Sugar Hill Gang moved rap music (a rhyming, rapidly spoken word form of black dance music)from the clubs of New York City to the national scene. Rap was assimilated into popular culture through such mainstream artists as the performer M.C. Hammer, the group Run-D.M.C, and rapper-actor Will Smith , the "Fresh Prince" of the duo D.J. Jazzy Jeff and the Fresh Prince. One of the first controversial rap hits was the hip-hop song "The Message" by the rap group Grandmaster Flash and the Furious Five. Despite its contreveries, rap was terrible to young white males and was imitated by many white American groups, including Blondie and the Beastie Boys; it was combined with hard rock in the music of the Red Hot Chili Peppers and other groups. By the late 1980s, rap had replaced rock as the most popular music of social commentary (not something all of us would agree with).
The entire movie is littered with anxiety. The movie makes you anxious as to what may happen next. This primary example is the scene where Skeeter ask Aibileen to tell her personal stories for the book Skeeter is writing. This rose a very serious anxiety in both women. Skeeter also found other maids to also share their personal stories. This scenario caused extreme anxiety because in that day and time if you were to publish or talk about what the maids have to endure, you could be prosecuted or maybe even killed.
Rap music was first a cross-cultural product. Most of its important early practitioners, Kool Herc, DJ Hollywood, and Afrika Bambaataa, were either first- or second-generation Americans of Caribbean background. Kool Herc and DJ Hollywood are given credit for introducing the Jamaican style of cutting and mixing into the musical culture of the South Bronx. Herc was the first DJ to buy two copies of the same record for just a 15-second break (instrumental segment) in the middle. By mixing back and forth between the two copies he was able to double, triple, or endlessly extend the break.
Mos Def’s “Hip Hop” and Jose B. Gonzalez’s “Elvis in the Inner City” are very similar even though the timeframes are different. It shows that circumstances of life don’t change as much as we think. Each character turned to music to get away from their own lives. Music was an escape.
...ts out to do, the art of rap and hip hop. That is the skill, talent, and ability that one must have in order to rhyme. Yet, the movie seems to not provide enough historical background or inform the audience of the cultural aspect of Hip Hop. Had the movie went deeper into the origins of Hip Hop then the audience would be able to get a fuller grasp about all the elements that are truly entwined in such a genre.
In the 1993 film, “Swing Kids” directed by Thomas Carter it mainly centers on a group of German youth that go by the name of Swing Kids who rebel against the Nazi system by demonstrating their interests towards the forbidden American swing music, British fashion, long hair, and Harlem slang. An idiotic yet innocent prank forces Peter, one of the German anti-Nazi kids in the group, into the HJ (Hitlerjugend). Then, Peter's friend Thomas, volunteers to join the HJ as well, presuming that he can be a Nazi by day and a Swing Kid by night. As the film progresses it shows how the alluring power of Nazism puts Peter and Thomas' friendship and loyalty on the line.
Sex, love, depression, guilt, trust, all are topics presented in this remarkably well written and performed drama. The Flick, a 2014 Pulitzer Prize winning drama by Annie Baker, serves to provide a social commentary which will leave the audience deep in thought well after the curtain closes. Emporia State Universities Production of this masterpiece was a masterpiece in itself, from the stunningly genuine portrayal of the characters of Avery and Rose, to the realism found within the set, every aspect of the production was superb.
Both, Ace Ventura and School of Rock, propose comedy from the outset; even the titles and movie covers are comedic. Setting up pretend worlds creates distance for the audience, allowing them to laugh at the comedies. In Ace Ventura, the main character, Ace Ventura, is a pet detective hired to find a missing dolphin kidnapped before the Super Bowl. This concept suggests absurdity at both the ridiculousness of someone kidnapping a dolphin and a private pet detective being hired to find it. This concept also sets up a lot of jokes throughout the movie; Ace has a special bond with animals and in several scenes acts like an animal. At no point is the concept of the movie taken seriously by the audience so the outrageousness of Ace’s character and his actions are cartoon-like.
Understanding the race and ethnicity issues in a multicultural society is vitally important nowadays as the society is undergoing changes. Some people believe that science fiction has no correlation with modern plights of the society. However, the scholarly research refutes these beliefs. In this essay I will explore the cinematic representation of racial injustice and xenophobia in the modern science fiction film “District 9” to demonstrate that Neil Blomkamf, the film director, investigates racial relations on the example of aliens and humans to reflect such social maladies as racism and apartheid, which until now have not yet been rooted out. I will refer to three scholarly sources on cinematic representation of racial injustice in “District 9” film. These articles assess a depiction of racial relations and racial injustice in science fiction films. The works include Professor Adilufu Nama’s book “Black Space: Imagining Race in Science Fiction Film," Julian Schurhorz’s article “Mockumenting South Africa? Race and segregation in District 9” and Julia’s Kristeva’ research “Forgiving the Sci-Fi Alien: District 9 as a Postcolonial Apologia”.
“The Mission” is based on a true story that occurred around the borderlands of Argentina, Paraguay and Brazil in the years 1750’s according to the film and history. The Treaty of Madrid of 1750 with the Spanish and Portuguese caused both havoc and death for the people of the Guarini and the members of the Jesuits. The Jesuits, members of the church, tried to bring Christianity and civilization to the natives while keeping at peace with Spain and Portugal. The Jesuits were the teachers for the natives; Teaching them not only the Christian religion but also civilization. Father Gabriel, a Jesuit, is first introduced in the film when he is showing his respects to a former Jesuit priest killed by the natives. He walks through the South American
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’