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Race stereotypes in media
Race stereotypes in media
American graffiti essay
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This essay will discuss a film which has been said by Critics Consensus is Rotten Tomato as “One of the most influential of all teen films” (“American Graffiti”, 2018). This film is one of the unusual motion pictures in many respects, these particular items in this screen classic will be discussed. The story line is a classic “day in the life” saga of a group of middle class west coast high school kids, however the plot is perhaps a little deeper than the unknowing viewer may think. Thought to be just another “teen movie” when released, the movie was a box office success, time has been very good to American Graffiti, in 2007, “the American Film Institute ranked this as the #62 Greatest Movie of All Time” (IMDb, 2018). American Graffiti a Film …show more content…
Two of the characters Curt and Steve are scheduled to ship off to college in the east in the morning, Curt had reservations about leaving and Steve was in a relationship with his “steady” Lori. As the story develops, their relationship begins to un-ravel. While this line is developing, Curt contemplates joining a gang, The Pharaohs, ultimately walking away from them. Curt is constantly taunted by the illusive, “most beautiful woman ever”, the “blond in the T-bird”. While all this is going on, there is a subplot of a geeky nerd, Toad, who is always the victim of the whims of the general public, however he “strikes gold” when he manages to connect with Debbie (way beyond his …show more content…
These two manage to avoid each other until the race challenge is issued towards the end of the movie. This race becomes the pinnacle of the movie, as Lori has broken with Steve and is riding with Bob during the race. During the race, Bob’s car flips and rolls. Both Lori and Bob are fine, however Steve pulls up as the car ignites, and runs to Lori committing to “never leaving her again”, sidelining his college trip to the east with Kurt who was originally the one who was not committing to leaving. Throughout the film, there is a running theme about the voice on the radio, Wolfman Jack. Several times during the movie there is a reminder the sociological and cultural impact of people of color on parts of our society. Most of the kids believed Wolfman was black, in fact at one point in the movie Carol is talking to John and says, “my parents don’t let me listen to the Wolfman because he’s a negro”, although in reality he wasn’t. This was a sign of racial intolerance of the early
“High School Confidential”, an article written by film critic David Denby for the New Yorker in 1999, accurately disputes and criticizes that high school related movies get their genre clichés from other high school movies that are out, as well as emotions of writers from their own high school years. Denby backs this claim up with multiple examples showing the stereotypes of high school movies, and explaining how those stereotypes are incorrect, such as the stereotypical princess in the school, the standard jock-antagonist, and the outsider/nerd character, and then he shows that all of these examples stem from the “Brian de Palma masterpiece Carrie”. David Denby’s purpose is to show readers how most high school movies are over-stereotyped
David Denby thoroughly explains the distinction between the reality of high school life to what is portrayed in movies in the article, “High-School Confidential: Notes on Teen Movies.” He argues that many of these movies are extremely predictable and all have the same story line. Denby gives numerous examples of the cliché teen movie, which entails the skinny, blonde popular girl and her jock boyfriend who, let’s face it, has his shining moments in life, in high school. Denby’s main objective throughout this article is to distinguish whether these films reflect reality, or just what we imagine to be reality. He also touches on the other side of the social spectrum which usually consists of a quiet, female outsider who is known to be smart and
In “High-School Confidential: Notes on Teen Movies” David Denby criticizes movies portraying high school. He writes “The most commercial and frivolous of genres harbor a grievance against the world” (426). In many movies starting in the early 90’s you began to see an extreme amount of disrespect to adults from teenagers. High school movies are filled with unruly
“I viewed each of the films at least once…taking notes on the role of the teacher, peer relations, among students, relations between students and adults, student attitudes toward schoolwork, extracurricular activities, the role of the family, the resources of the school, the use of violence and drugs, exploitation of sexuality (4).”
The film that interested me for this assignment was “Boyz n the Hood”. The movie was about a Los Angeles neighborhood expanding of drug and gang culture, with increasingly tragic results. It was about how one teen had family support to guide him on the right path in life regarding the social problems around him. The other two teens in the film wasn’t as fortunate and fell into the social problems of drugs, violence, and gangs; where one ended up dead.
Can you recall the very last night that you spent with your high school buddies before packing your bags and leaving for college? The films American Graffiti and Dazed and Confused bring you back to that through the recreation of those great experiences. American Graffiti is based on a closely-knit group of teenagers who will all be leaving each other the next day for new adventures. This gang of teenagers, despite their differences, all goes out together and share their last memorable evening. Throughout the night, friendships are strengthened, conflicting struggles arise, and romances are created and disrupted. Dazed and Confused dealt about life during wartime – the wartime of high school, where the faculty is irrational, the parents are
Boyz N the Hood was a film created to convey an anti-gang message as well as to provide societal members an in-depth look at life in “the hood” so he or she can expand their culturally awareness of identifying societal issues (Stevenson, 1991). Upon the debut of “Boyz N the Hood” violence erupted at theaters across the nation, resulting in multiple shows pulling the film from scheduled showings to alleviate future violent behaviors (Stevenson, 1991). The film profoundly illustrates the realty of the events revealed within the storyline that frequently occur on a daily basis within every impoverish community; however, is overlooked by the individuals who are not directly involved and or affected (Leon-Guerrero, 2016) Children of lower socioeconomic status often are raised in ghetto neighborhoods where they often witness, crime, violence, gang activity, abuse, and drugs (Leon-Guerrero, 2016). Ghetto communities envelop tumultuous cycles of violence and substance abuse creating a pervasive occurrence within the residents of the community. This is prevalent in lower developed communities that unfortunately many children and the youth populace indirectly inherit and sadly conform to, as there are no other means to an end for them (Leon-Guerrero,
This film contains some classic examples of the kinds of real life issues adolescents deal with. Issues such as popularity, peer relationships, family/sibling relationships, sex, and struggles with identity are all addressed in this ninety-minute film.
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,
Aside from its acting, the other major influence which Mean Streets had upon American film-makers was through it's use of a rock n' roll soundtrack (almost perfectly integrated with the images), and in its depiction of a new kind of screen violence. Unexpected, volatile, explosive and wholly senseless, yet, for all that, undeniably cinematic violence. The way in which Scorsese blends these two - the rock and roll and the violence - shows that he understood instinctively, better than anyone else until then, that cinema (or at least this kind of cinema, the kinetic, visceral kind) and rock n' roll are both expressions of revolutionary instincts, and that they are as inherently destructive as they are creative. This simple device - brutal outbreaks of violence combined with an upbeat soundtrack - has been taken up by both the mainstream cinema at large and by many individual `auteurs', all of whom are in Scorsese's debt - Stone and Tarantino coming at once to mind.
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.
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary western culture and philosophy.
“We fight each other for territory; we kill each other over race, pride, and respect. We fight for what is ours. They think they’re winning by jumping me now, but soon they’re all going down, war has been declared.” Abuse, Pain, Violence, Racism and Hate fill the streets of Long Beach, California. Asians, Blacks, Whites and Hispanics filled Wilson High School; these students from different ethnic backgrounds faced gang problems from day to night. This movie contains five messages: people shouldn’t be judgmental because being open-minded allows people to know others, having compassion for a person can help people change their views in life, being a racist can only create hate, having the power of the human will/goodness to benefit humanity will cause a person to succeed at any cost and becoming educated helps bring out the intelligence of people.