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cinema in our society
cinema and its impact on society
films and the moral standards of society
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American Film and Movies from the 1950’s to Present
Today, American film is among the most internationally supported commodities. Financially, its contributions are enormous: the industry is responsible for the circulation of billions of dollars each year. Since its explosion into the new media markets during the mid-twentieth century, film has produced consistently growing numbers of viewers and critics alike. Sparking debate over the nature of its viewing, film is now being questioned in social, political, and moral arenas for its potential impact on an audience. Critics claim that watching films is a passive activity in which the viewer becomes subconsciously absorbed, and creates a reliance or "addiction" to the medium, and thus can be influenced by any perpetual concepts or images. Advocates, however, argue that viewing such programs is an active process in which audience members are able to choose to what they are exposed, and interpret messages based on their individual needs and background. Perhaps both views are too extreme. Film from the 1950s to present, as will be explored in this essay, is an extremely useful medium, often underestimated within the label of "entertainment"; unfortunately, it may be partially responsible for current socio-cultural problems, too. The critical question, then, is whether film has fostered the progress of a more open-minded America, or rather hindered its development through the perpetuation of antiquated concepts of stereotypes, densensitized violence and breeding of normalcy.
Whether or not a naïve approach to film as an inclusive medium holds true to fact, however, is questionable. Since its popular arrival in American culture during the 1930s, film has sparked controversy over ...
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...es, Francis, ed. Washington: Smithsonian Institution Press, 1996.
Jowett, Garth. "A Significant Medium", in Movie Censorship and American Culture. Couvares, Francis, ed. Washington: Smithsonian Institution Press, 1996.
Lyons, Charles, "The Paradox of Protest", in Movie Censorship and American Culture. Couvares, Francis, ed. Washington: Smithsonian Institution Press, 1996.
Ross, Steven T., ed. Movies and American Society. Oxford: Blackwell Publishers, 2002.
Wasser, Frederick. "Is Hollywood America?", in Movies and American Society. Ross, Steven T., ed. Oxford: Blackwell Publishers, 2002.
Slocum, J. David, ed. Violence and American Cinema. New York: Routledge, 2001.
Rotham, William. "Violence and Film", in Violence and American Cinema. Slocum, J. David, ed. Routledge, 2001.
Turner, Graeme. Film As Social Practice. New York: Routledge, 1999.
Houchin, John H. Censorship of the American Theatre in the Twentieth Century. Cambridge, UK: Cambridge UP, 2003.
Miss Moore begins her lesson by planting a seed in the minds of the children in the form of small talk such as; what things cost, how much their parents made, how much they spent on rent and how money was not divided up right in this country (508). This got the children thinking about the money that ordinary people within their community spent on everyday survival. Their field trip brings them to a fancy Fifth Avenue toy store “F.A.O Schwartz” (512), where they admire toys form the window. The children begin to notice the outlandish prices that the toys were being sold for, which further waters the seed embedded in their little minds earlier. Their eyes settled on a sailboat displayed in the window. Its outrageous price tag read, one thousand one hundred ninety-five dollars (510). Shocked and taken back they could not believe that anyone would pay that much money to entertain a child, one child immediately asked, “This boat for Kid’s, Miss Moore?” (510). This growing seed in their minds sparks the question of, why some people can afford such expensive toys and not others, as they enter the store. As they finish in the toy store and get home, Miss Moore prods the children to see if they had grasped the lesson as she intended. Sugar, one of the children spoke and said “You know, Miss Moore, I don’t think all of us here put together eat in a year what that sailboat costs” (512). Miss Moore was elated to find that the message of social inequality had been relayed to at least one of the children.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Different anthropologists such as Nowak and Laird (2010), and Butler (2006), recommended that these residents of jungles contain an exclusive background; position, morals and everyday life is entirely through big adjustment. It can be said that the Mbuti people live in their own world. This paper will discuss the kinship system and the social organization of the culture as far as how they practice equal sharing of food after engaging in hunting and gathering. This paper will also discuss how the Mbuti culture uses gender relation to determine their hunting ages.
Miss Moore tells the children that there is a disparity between the wealthy and the poor, and that those with little income need to step up and fight for what they are owed, “…poor people have to wake up and demand their share of the pie” (Bambara 285). The setting is an important aspect for this message. Not only does Miss Moore take them to a store that is renowned for its unique and expensive toys, but it also occurs during summer. In the summer affluent people have the option to leave and go on holiday, while poor people must continue to work because they do not have enough money to take time off or to go anywhere. Miss Moore takes the children to the shop to open their eyes to how unfair the current economic system is and wants them to feel that they need to act to change it. That they should strive to make things equal. Although the children do not like Miss Moore and think the trip was a waste of time, this message is not lost on them. On the train ride home Sylvia sits and thinks, “What kinda work they do and how they live and how come we ain’t in on it?” (285), this conveys her feelings of confusion and anger at the fact that there is a social hierarchy and that they are at the bottom. Sugar also understands that they are not receiving the same opportunities when she
...Dr. Sara. "How the Mind of a Censor Works: the Psychology of Censorship." School Library Journal, January 1996, p. 23-27.
Before the modern age, workers generally created their own products by hand, but this type of labor process has changed drastically with the rise of new technology and resources. Due to this change, workers were unconnected to their products; since they were no longer involved in the production, they were essentially separated from the creation. During the Industrial Revolution and the Second Industrial Revolution, otherwise known as the Technological Revolution, the rise of technology brought in new machinery that replaced workers. Machines controlled workers; as mentioned in lecture, workers lost all control when they were part of the assembly line. Also in Charlie Chaplin's film, Modern Times, workers had little or no control over the pace of the work, and the smallest distractions can slow down production. This was how workers and labor were described in the mechanized world. Herbert G. Gutman exp...
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
While Horkheimer and Adorno view film as solely manipulative, Benjamin believes we can use film to accustom ourselves to the oppressive "prison-world" that is modernity. In contrast to Horkheimer and Adorno's perspective, Benjamin's vision of film is empowering because it allows us to tap the liberatory potential of film in the oft-overwhelming modern era. As consumers, we have the power to stimulate our intellects and expand our imaginations with film. Given Horkheimer, Adorno, and Benjamin's arguments, we can either idly accept that film is oppressive or actively seek out the liberating qualities of film. Following Benjamin argumentation, I hope that we, the masses, will choose the
Congo’s population is estimated at 4.04 million, over half of which live in the two major cities of Brazzaville and Pointe- Noire. In this area since the 20th century three fourth of the population lives in urban areas, making the Congo one of Africa’s most urbanized countries. Almost all Congolese are Bantu, a name that refers to the people living in Central, Eastern and Southern Africa. The Bantu originated from Nigeria and Cameroon and migrated to Southern Africa 2,000 years ago. In present day Congo, non-Bantu tribes account for only 3% of the population. The Bantu include 74 peoples belonging to different ethnic groups such as the Kongo, the Teke, the Mbochi and the Sangha.
Roth, Chris. “Three Decades of Film Censorship…right before your eyes”. The Humanist. Vol. 60, No. 1. January/February 2000.
A company's budget serves as a guideline in planning and committing costs in order to meet tactical and strategic goals. Tactical goals such as providing budgetary costs for daily operations, and strategic objectives that include R&D, production, marketing, and distribution are all part of the budgeting process. Serving as a guideline rather than being set in stone, the budget is a snapshot of manager's "best thinking at the time it is prepared." (Marshall, 2003, p.496) The budget is a method in which to reign-in discretionary spending, and will likely show variances between what costs have been anticipated and what costs are actually incurred.
Before discussing how cinema might disconnect us from our American experience we must discuss what exactly is
The Congo or the Democratic Republic of Congo is a country in Western Africa. This country acts as habitat for a range of animals and wildlife, such as indigenous plants. While rural, the Congo holds a great beauty in its simplicity and natural features. The Congo also is a home for a diverse population of people leading towards a open and enticing culture. The most interesting and important aspects of the Congo country is the languages, location/geography and economy, government, society, and overall the unique culture in Congo.
Movies are an unbelievably important escape for many people across the world. Films can take a viewer to another place or time and since the beginning of society, performances have been a staple of cultural. Films show a perception of reality, for better or for worse. Many see films and the cultural that it is in and think that it must be a accurate depiction, which sometimes unfairly puts a stigma on a group of people or a cultural. Hollywood has been able to expand all over the world, and many think The objective of promoting American culture through Hollywood movies is to dominate the other cultural communities around the world and become the universal culture of the world.