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In “False Idols Come in Many Guises” columnist Henry G. Brinton calls into question the idols or counterfeit gods created and popularized recently by the entertainment industry. Brinton argues that the protagonists in many modern television series idolize things such as money, power, and even children by putting them before god. The author claims that idols like these can become a dangerous obsession when not treated carefully. The article continues to state that Americans follow after these characters in worshiping idols that distort their sense of place in the world. The overall focus of the article is that following an idol instead of god can never lead to anything good. Mr. Brinton defines an idol as “anything more important to you than god, anything that absorbs your heart and imagination more than god” (Brinton, par. 6), he often insinuates that commitment like this is common, this is not the case. To idolize something the way he defines it can be difficult; one would have to accept everything about an idol and live their lives in the pursuit of pleasing or acquiring it. For a person to idolize power for example they would have to …show more content…
dedicate their every action to gaining power and prioritizing it over everything else. The author doesn’t mention or perhaps he does not notice that commitment to these counterfeit gods is uncommon and certainly not dangerous enough to become a threat to society any more than Christianity. A majority of people would not agree that they put the principles demonstrated in television dramas they like at the forefront of their lives; an average viewer knows they are watching a show and to leave it at that. The author argues that idols cannot replace the Christian god as a motivator for good morality because they do not inspire the same fear in their followers that god does. The article states that focusing on idolatry is necessary because “the language of sin is fading in America” (Brinton, par. 8). Brinton goes on to say that modern life is too comfortable, and thus lets people forget that “we are ‘sinners in the hands of an angry god’” (Brinton, par. 8). If viewers were to conduct their lives to Mr. Brinton’s liking some would wake up in the morning thinking they have no worth in the world because they love their children more than god. This kind of warped thinking is what drives people away from religion and to the counterfeit gods Brinton believes society worships. It is not so bad that people dedicate themselves to their children that they should have to repent their commitment every day of their lives. Viewers would have an arduous time finding the motivation to get out of bed if they were forced to feel that way. These idols function as a different form of motivation for people. In the end it is what results from their following that should be considered, not all roads lead to destruction as Mr. Brinton would have readers believe. Mr.
Brinton evens goes so far as to bring up a 2013 poll that states “61.5% of Americans believe in heaven and think they are going there. Only 1.5% believe they are going to hell.” (Brinton, par. 9) he implies that this a surprisingly large number. His source is the True Life in God Foundation; this poll was conducted on people of the Christian faith. Of course they believe they are going to heaven, some have spent their entire lives in preparation for it. To say what 61.5% of Christians believe is the same as what 61.5% of Americans believe is rather presumptuous. There is also no mention of where the poll was taken, or where the other 37% went. Credibility aside, his poll tries to prove that Americans think of themselves as good people that deserve a good afterlife. Brinton takes issue with this for reasons I cannot
speculate. Throughout the article Brinton uses examples from popular entertainment that demonstrate the dangerous things that can result from following an idol; however, he does not provide examples of the good things that can come from it. One character he frequently uses as a bad example is Walter White, the main character of the AMC series Breaking Bad. White places providing for his family before everything else, sacrificing his morality to be sure his family is taken care of after his death. He doesn’t mention some of the exceptional behavior that results from a fictional character that pursues an idol. Justice can be considered an idol by Brinton’s definition, dozens of fictional characters desire justice over anything. Batman, a super hero from Marvel comics, is an excellent example. One might question how Batman could compare to Walter White, and the answer is they are both fictional characters in a fictional world that pursue a counterfeit god. Batman sacrifices everything to protect Gotham, the city in which he resides, from evil doers. He does incredible things all in the interest of preserving justice in his city. Great things can come from counterfeit gods after all. Justice is one of many idols prevalent in modern media that inspires good morality and motivation in people. It also does not demand the viewer repent for not seeking it out. Counterfeit gods really aren’t all as bad as Mr. Brinton believes. The author suggests that an idol in any form other than god is wrong and leads to something dark and dangerous, but this is not the case. Elevating something to the level of god is difficult and requires a commitment not many are willing to make. Any form of motivation is better than no motivation at all, making people believe they are worthless and are condemned to hell will not achieve anything. Not all counterfeit gods harbor destruction. Some idols, like justice, can inspire truly great things in people that seek it. In the end what really matters is what people make of their idols. Whether they be a god, an ideal, an object, a virtue, or a person it doesn’t matter. What matters is what people are willing to do to pursue them. Works Cited Brinton, Henry G. "False idols come in many guises." USA Today. Gannett Company, 3 September 2014. Web. 8 September 2014.
In Their Eyes Were Watching God, Zora Neale Hurston portrays the religion of black people as a form of identity. Each individual in the black society Hurston has created worships a different God. But all members of her society find their identities by being able to believe in a God, spiritual or other. Grandma’s worship of Jesus and the “Good Lawd,” Joe Starks’ worship of himself, Mrs. Turner’s worship of white characteristics, and Janie’s worship of love, all stem from a lack of jurisdiction in the society they inhabit. All these Gods represent a need for something to believe in and work for: an ideal, which they wish to achieve, to aspire to. Each individual character is thus able to find himself or herself in the God that they worship.
Over the past decades, Hollywood movies have brought out the representations of racial inequality through out various themes of racism and stereotypical ways. One frequent type of racial inequality is that there is a culture or race that is belittled, under-privilege and inferior while the other is superior and high in order. In “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, He identifies the term “magical negro” as: “a saintly African American character who acts as a mentor to a questing white hero, who seems to be disconnected from the community that he adores so much, and who often seems to have an uncanny ability to say and do exactly what needs to be said or done in order to keep the story chugging along in the hero’s favor” (408) and in Mitu Sengupta “ Race Relations Light Years from the Earth” the author examines the movie Avatar as a racist film, and focuses on how it resembles the “white messiah” stereotype. The term “white messiah” is known as a white individual who hold superior power, according to David Brooks of the New York Times, “a stereotype that white people are rationalistic and technocratic while colonial victims are spiritual and athletic, and that nonwhites need the White Messiah to lead their crusades” (Sengupta 213). Both articles dwell and explain the two terms and how it portrays the themes of racism and stereotypes through two elements, known as author’s purpose and main idea. These elements effectively convey the theme because it prevents our thoughts from being scattered by a broad spectrum of ideas and instead, it tells you exactly what is going to be discussed throughout the article.
Over past decades, Hollywood movies have brought out the representations of racial inequality through out various themes of racism and stereotypical ways. One frequent type of racial inequality is that there is a culture or race that is belittled, under-privilege and inferior while the other is superior and high in order. In “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, He identifies the term “magical negro” as: “a saintly African American character who acts as a mentor to a questing white hero, who seems to be disconnected from the community that he adores so much, and who often seems to have an uncanny ability to say and do exactly what needs to be said or done in order to keep the story chugging along in the hero’s favor” (408) and in Mitu Sengupta “ Race Relations Light Years from the Earth” the author examines the movie Avatar as a racist film, and focuses on how it resembles the “white messiah” stereotype. The term “white messiah” is known as a white individual who hold superior power, according to David Brooks of the New York Times, “a stereotype that white people are rationalistic and technocratic while colonial victims are spiritual and athletic, and that nonwhites need the White Messiah to lead their crusades” (Sengupta 213). Both articles dwell and explain the two terms and how it portrays the themes of racism and stereotypes through two elements, known as author’s purpose and main idea. These elements effectively convey the theme because it prevents our thoughts from being scattered by a broad spectrum of ideas and instead, it tells you exactly what is going to be discussed throughout the article.
Al Pacino and William Shakespeare both utilized their texts to illustrate cultural agendas and present varying interpretations of the same story. The analysis of this pair of texts served to heighten our understanding of the values and contexts of the texts and the commonalities between them. Whereas Shakespeare’s audience placed great significant value on religion and divine retribution, Pacino’s audience have independence placed on the individual rather than God. Finally, the contextual comparison of the texts furthers our understanding of the values portrayed in two different zeitgeists.
Film critic, Michael Medved is aware that by publishing his book, "Hollywood verses America," he will not only enrage mostly everyone in the show business industry, but he will also loose some of his friends because of what he wrote. His strongly opinionated critique of popular culture examines the recent shift in the content of today's television, films, music and art. He has gathered statistics and opinions as well as shared personal experiences, all to illustrate one major point; popular culture has taken a turn for the worst.
This article talked about the fascination of reality vs. illusion. The article examined the media’s current fascination manufactured reality. The article said “in our modern world where every channel seems to have its own version of a reality show, we are inundated with the media’s version of what is real. There is a reason why there are so many of these shows on the airwaves, and that is viewers can’t seem to get enough of them.” The article also talks about how the hunger games draws the children.
“Labeling theory,” which states that our self-identity and behavior can be altered by the names or terms that people use to describe or classify us. Labeling is using descriptive terms to categorize or classify something or someone. Sometimes these labels can have positive impacts on our life or as Amanat’s mentioned that these labels can limit our full potential to do anything by believing that people’s expectation about us is how we should define ourselves. In doing so, we act against our true nature because we’re trying to live up to others expectations or deny their assumptions.
In Chidester’s book Authentic Fakes, he argues that over the years, the blurred line between popular culture and religion has become stronger. The area where the two intertwine creates the middle zone. In this middle zone are several categories including: sacred icons; intense, ritualized performances; sacred games; and communities of allegiance, all characteristics that consist of elements of both popular culture and religion (CITE). Basically, sacred icons are symbols that have become prominent in society (Chidester 4). They are powerful and many of these icons take on both religious and secular qualities. Intense, ritualized performances involve some sort of interaction between the two parties involved and inspire “collective efferverscence,” a term coined by Emile Durkheim that essentially describes the energy that creates group unity and identity (CITE). Sacred games, such as baseball, involve many similar elements to religion, such as tradition, allegiance, and rituals, as well as a common worldview (CITE). Finally, communities of allegiance are devoted followers, who partake it rituals to show their commitment to the group and whoever or whatever they are admiring (CITE). Overall, Chidester’s theory emphasizes that there are ambiguous concepts, figures, and movements that cannot be neatly categorized as either solely religious or solely
In the Disney movie Life-Size, actress Tyra Banks plays the role of Eve, a Barbie-like doll, who is "perfect in every way," come to life. Later in the movie, the once-very popular Eve doll's sales decrease dramatically, and the company stops the production of the Eve doll not realizing what they are doing wrong. Distressed, Banks, the "life-size" Eve doll, turns to her owner Casey and learns two valuable lessons—that perfection is boring and unrealistic, and it is okay to make mistakes. Casey tells the life-size Eve that the Eve doll is too "goody-goody" to be real, and girls need more realistic role models—heroes—with personality, inner struggles, and mistakes. Almost everyone likes heroes from Spiderman to firefighters to Dad who inspire the young and keep them motivated; however when the heroes' lives and beliefs are fabricated to fit a stereotype, these humans regress into nothing more than a boring ideal. Heroification with cognitive dissonance blind students to the reality of this world and limit their ability to view controversies objectively.
The mythology of Superman is a paradigm that embodies the cultural reality of the era; constructed around an archetype of ideology, fantasies of human spiritual ambiguity, a religious messiah, and a semiotic representation of modernity. In further study, Superman can be identified to have specifically changed to adhere to American culture in three distinctive periods; midst the Great Depression and WWII, post WWII and finally the socially progressive change of the Vietnam period. In each chapter Superman was re-imagined to meet the definition of the period, a tool of propaganda over that of entertainment. Currently, America is entering a new phase of cultural shift, and thus Superman will be redefined to represent the ideologies of truth, justice, and the American way of that required era. Yet, the mere surface mythology of Superman has applications to cultural ideologies, questions of human freedom, dreams in a Freudian nature, and the complex relation of fantasy and reality which required introduction before in-depth research.
The world of Neil Gaiman’s novel American Gods is a place where gods are brought into existence by the belief of humankind but also where they fade away into nothingness if that belief dies. All the deities from human myth and religion are able to exist, but only if there are people who are around who truly worship them. In the words of Wednesday, one of the gods of the story, “That’s what it’s like for my kind of people…we feed on belief, on prayers, on love” (Gaiman 225). In American Gods, Gaiman emphasizes America’s position as a place without any unique religious culture to call its own. Instead, it is country filled with the religions and myths of the many ethnic groups who carried their own culture with them when they arrived to the New World. American Gods is not just a novel about gods in America, however. This is also a story about how the gods reflect the best and worst attributes of American society. American Gods explores America’s lack of original religious traditions and analyzes the nature of religious belief in America.
Portrayal of Christianity in the Media In this piece of coursework I am going to write an essay about how Christianity is portrayed in the media. I'm going to write about mainstream shows such as Songs of Praise and Paradise found. I am also going to write about how a Christian issue is dealt with on Eastenders which was Euthanasia. Then I am going to write about how Homosexuality is looked upon in the film Philadelphia.
Geertz defines religion as ‘(1) a system of symbols which acts to (2) establish powerful, pervasive, and long-lasting moods and motivations in men by (3) formulating conceptions of a general order of existence and (4) clothing these conceptions with such an aura of factuality that (5) the moods and motivations seem uniquely realistic.’ In this essay, I will focus on the Geertz’s idea, and Asad’s subsequent critique, of symbols. (Geertz, Clifford, and Michael Banton. "Religion as a cultural system." (1966).)
Television has always been an industry whose profit has always been gained through ads. But in chapter 2 of Jason Mittell’s book, Television and American Culture, Mittell argues that the rise of the profit-driven advertising television model can be traced back through American television history, and that the rise of the profit-driven advertising model of television actually helped to mold American culture both from a historical standpoint and from a social standpoint.
Religion is the ideal concept that separates human kind from the rest of the animal kingdom through social responsibility and morality. It encompasses an institutionalized set of beliefs and attitudes that are formed and practised over generations. The social responsibility aspect of religion is what creates the foundation of laws and social structure for a society to evolve over time. The morality gives a path for guidance to accept friendship, love family and respect the rights of others in order to co-exist in this world today. Religious practises give us a direction on how to treat our neighbours, and live our daily lives. The most important concept that religion creates is equality among everyone whether rich, poor young or old. Religion in the United States includes a wide diversity of beliefs and practises. A majority of Americans report religion as a “very important” aspect in their daily lives (Eck, pg 432). Religious freedom is highly valued in America, yet is not guaranteed to everyone. The history of America showcases the true ignorance towards religion displayed by the same people who claim to practise it daily. This essay will examine several works that showcase the perceptions of Native Americans and the prejudice displayed towards them that is deeply rooted from the American culture and local religious churches. The themes of religion and discrimination are displayed in the works of famous historical writers, Lydia Sigourney and William Apess. Sigourney and Apess are both Native American writers whose work shed light on the hypocrisy displayed by the religious society of America towards the religions of others. Also the documentary, In the Light of Reverence will be discussed to explore the arising conflicts over...