I remember vividly the first time I watched "Higher Learning" and had an understanding of what it was really about. It was during the summer I had graduated from high school, sitting in the living room watching the TV as my mom looked at the movie. As we settled in, I was struck by everything building up and eventually unfolding, it is full of potential yet fraught with underlying tensions. By the time the credits rolled, the thoughts I had about college had changed slightly. These issues may not happen in the same way the movie played out, but they could definitely happen. The storyline was intense and illuminating, touching on race, gender, and privilege in ways I had not seen before. It was then I realized the power of film not just to entertain, …show more content…
"Higher Learning" offers a multifaceted portrayal of race, gender, and class dynamics on campus, encapsulating the tension and conflict that arise from systemic inequalities and prejudices. The film's narrative is driven by the experiences of three freshmen: Malik Williams, a Black student track star; Kristen Connor, a white student grappling with her identity; and Remy, a white student who becomes entangled in white supremacist ideology (Fig.1). Through these characters, Singleton exposes the latent and overt forms of racism, sexism, and economic disparity that circles through the academic environment. Singleton does not shy away from depicting the harsh realities of campus life, from racially motivated violence to the challenges of navigating gender and sexual identity. Applying Walter Benjamin's insights from "The Work of Art in the Age of Mechanical Reproduction," we can further understand how this film, as a mass-produced cultural artifact, engages with these …show more content…
By presenting a rich ensemble of characters, each grappling with their own biases and societal expectations, "Higher Learning" humanizes the struggles of identity and belonging, challenging stereotypes and sparking empathy within the audience. Moreover, the film's strategic use of symbolism and visually striking imagery reinforces its underlying themes, evoking powerful emotions and provoking deeper contemplation on the societal divisions that filter through the large cracks of higher education. Applying Laura Mulvey's "Visual Pleasure and Narrative Cinema" to "Higher Learning" enriches our understanding of the film's engagement with gender dynamics and its efforts to challenge traditional cinematic pleasures. By examining how the film portrays women and employs visual strategies that subvert the male gaze, we can appreciate its contributions to feminist discourse within the realm of cinema. "Higher Learning" not only confronts issues of race and class but also offers a critical reflection on gender, aligning with Mulvey's call for a new, more inclusive cinematic
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
Although some like Conor Friedersdorf, of the Atlantic, categorized students as “intolerant bullies, (34)” meaning that the reasons for protests were not really reasons at all. Chang argues that the issues students are expressing need to be improved upon as if not, we will continue to go round and round in this vicious cycle. The addition of the apartheid in South Africa backs up Chang’s argument as there is a consensus of it being a serious issue. This explains why he included this piece of history and how it relates to college campuses. Encouraging critics to listen to students, just as Meyer did to those of color, is the only way to prevent today's youth from bring up the same issues in future years. Just as Chang predicted, the next school year brought protesters to hundreds of colleges and universities. What happened at Mizzou was just the beginning of a country wide movement for racial justice on campuses that hasn’t stopped
In a society where a collegiate degree is almost necessary to make a successful living, the idea that a student cares less about the education and more about the “college experience” can seem baffling. In My Freshman Year: What a Professor Learned by Becoming a Student, Rebekah Nathan, the author’s pseudonym, tackles the idea that academics are less impactful on a student then the culture of college life. Nathan, a 50-year-old cultural anthropologist and university professor, went undercover as a college freshman for a research project. From her research, she hoped to better understand the undergraduate experience by fully immersing herself in college life. To do this, she anonymously applied to “AnyU,” a fake acronym for a real university,
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
This power keeps the behavior of the oppressed well within the set guidelines of the oppressor (Freire, 2000, pg. 47). Critical Race Theory outlines this system of oppression as it relates to white and non-white races. By using the critical race theory coupled with the system of oppression described by Freire (2000), I propose that within the system of oppression, the oppressor must keep its own members in line with the prescribed guidelines by reinforcing the social norms from birth. Freire (2000) suggest that the interest of the oppressors lie in “changing the consciousness of the oppressed not the system” (pg.34). Identifying as white, therefore, starts at birth when members of the white class work to reinforce social norms that began with our founding fathers at Plymouth Rock. This long history of white privilege was taught to me and I continue to teach it to my children. As an educator of white affluent high school students, I believe we provide college and career counseling based on this white privilege system of oppression as well. Here, I journey even closer to unraveling the myth of white privilege as I encounter the intersection of an affluent white student choosing a career after high
The same consistent, expressive voice introduces Ms. Angelou's effective strategy of comparison and contrast. By comparing what the black schools don't have, such as 'lawn, nor hedges, nor tennis courts, nor climbing ivy,' reveals not only a clear illustration of what luxuries the white schools in the forties had but also how unjust the system was. The adults at the graduation focus on the differences that were previously left unspoken. The black principal's voice fades as he describes "the friendship of kindly people to those less fortunate then themselves" and the white commencement speaker implies that" the white kids would have a chance to become Galileo's.... and our boys would try to be Jesse Owenes..." The author's emotions vary from the first proclamation that "I was the person of the moment" to the agonizing thoughts that it "was awful to be a Negro and have no control over my life" to the moment of epiphany: "we are on top again."
The education system has heavily relied on students socioeconomic factors to dictate their education style ultimately preparing them for skills necessary to fit in their social class. The American dream is dead, it is no longer to strive and work hard to become successful, rather as Bambara shows it, work hard to barely survive day to day. Bambara portrays this division by the inference that the characters have little to no knowledge or respect for a higher education or for a matter of factor a education at all. Silvia, the main character, features all three minority factors, low income and an African American female. Moreover, the expectancy of success is nevertheless little to nothing greater than her parents. Due to her socioeconomic background, higher education is viewed as a joke, referred to a “goddamn college degree” (254). Silvia is then subjected to live a lifestyle common to her parents, to not strive to be able to buy a toy boat for a thousand dollars, but to frown upon the possibility.
Westford, Massachusetts: The Murray Printing Company. Company, 1978 Kulik, Sheila F. Home Page. 17 Feb. 2000 http://www.feminist.com/femfilm.html. Rosenberg, Jan. “Feminism in Film.”
"Mrs. Robinson, you are trying to seduce me," says Benjamin Braddock (Dustin Hoffman). The Graduate, directed by Mike Nichols in 1967 is an influential satire/comedy film about a recent East Coast college graduated who finds himself alienated and aimless in the changing, social and sexual general public of the 1960s, and questioning the values of society. The theme of the film is of an innocent and confused youth who is exploited, mis-directed, seduced (literally and figuratively) and betrayed by a corrupt, self-indulgent, and discredited older generation (that finds stability in “plastics”) that I found to be quite clear and understanding, while also capturing the real spirit of the times and allows America's youth to perceive onscreen an image of themselves which they can both identify with and emulate. The Graduate is a significant film even today due to its use of abstract camera angles, telephoto lenses, excellent cinematography, and great acting. Few visual effects were used, however, matting and numerous point of view shots were used. These characteristics and the fabulous use of mis-en-scene, great writing and the era of the film all made The Graduate what it is today, magnificent.
The film Declining by Degrees effectively argues its claim that all is not right in higher education. They do this by interviewing countless professors and students that still attend college or that have recently graduated or dropped out. Their use of personal experiences, statistics, and expert opinions helps build their credibility and emotional appeal for the viewers of the documentary. The main audience for this documentary being anyone who cares about college, parents, students, and even the professors and staff at colleges in the United States.
Similarly, research literature on the experience of women of color college students has placed emphasis on exploring women’s experiences with racism much more than their experiences with sexism. Recent studies have explored racism on college campuses in a variety of ways including, racial discrimination (Chao, Mallinckrodt, & Wei, 2012; Henson, Derlega, Pearson, Ferrer, & Holmes 2013; King, 2005), colorblind ideologies (Coleman, Chapman, & Wang, 2013), racial stereotyping awareness (Johnson-Ahorlu, 2013; Muñoz, & Maldonado, 2012) , typology of racial incidents (Harwood, Huntt, Mendenhall, & Lewis, 2012; Yosso, Smith, Ceja, & Solorzano, 2009) , racialized school spaces (Barajas & Ronnkvist, 2007), and internalized racism (Hipolito-Delgado, 2010). Findings from these studies suggest that a major implication of racism on college campuses is the impact these in...
Solorzano, D., Ceja, M., & Yosso, T. (2000). Critical race theory, racial microaggressions, and campus racial climate: The experiences of African American college students. Journal of Negro Education, 69(1/2), 60-73. Sue, D. W. (2010). The 'Secondary'.
Critical race theory (CRT) is a framework that may be useful for examining how racial climate impacts the undergraduate experiences of African-American students on college campuses (Murphy, Gaughan, Hume, & Moore, 2010). CRT draws from a broad base of literature in sociology, history, ethnic studies, women’s study, and law (Murphy, Gaughan, Hume, & Moore, 2010). CRT consists of five elements: 1) the centrality of race and racism, and their intersectionality with other forms of subordination, 2) the challenge to dominant ideology, 3) the commitment to social justice, 4) the centrality of experiential knowledge, and 5) the transdisciplinary perspective (Murphy, Gaughan, Hume, & Moore, 2010). Applying CRT to education is different than other CRT applications as it challenges traditional paradigms, methods, texts, and separate discourse of race, gender, and class by showing how social constructs intersect to impact on communities of color (Murphy, Gaughan, Hume, & Moore,
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...