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The Representation of Minorities in American Cinema
As the semester progressed and we continued learning how Latinos have been misrepresented through American cinema during the twentieth century, I began to wonder about my own heritage and how Jews were portrayed in films of the same era. I grew up learning about the various stereotypes that have been associated with Jews throughout history, but never have I explored the portrayals of Jews through film history in the United States. My curiosity led me to research Hollywood’s image of the Jew, providing me with a better understanding of the role Jews and Jewish family life have played in American Cinema from the very beginnings of film history. I was able to relate the facts about the representation of Jews in the media to what we have studied this semester about the representation of Latinos and Latinas.
Although in class we focused on the portrayals of different Latin American cultures in American film, we must realize that other minorities, social classes, and ethnic groups were mistreated by cinema as well. As Keller states, "One of the side effects of American cinema was often crushingly brutal portrayals of other races and cultures, depictions that spread to larger audiences than ever before possible around the nation and even around the globe" (Keller, 5). Overall, the American film industry felt it necessary to depict all characters but the dominant Anglo in a negative light. "In short", Keller explains, "white Americans believed in the superiority of the white race and depicted this superiority on the silver screen. Every other race was evaluated in relationship to the attainments of the white race and with respect to its approximation to the white race whic...
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...//www.grapevinevideo.com/fairbanks.htm
The Mark of Zorro. Produced by United Artists and Douglas Fairbanks Productions; directed by Fred Niblo, 1920.
Cortes, Carlos E. "Chicanas in Film: History of an Image". Rodriguez, Clara E. Latin Looks. Boulder, CO: Westview Press, 1998. Pp.121-139
Flying Down to Rio. Directed by Herbert Brenon. Produced by Louis Zarecky, 1932.
All Movie Guide, Dolores Del Rio.
http://www.allmovie.com/cg/x.exe?p=avg&sql=bp18330
Mexican Spitfire. Directed by Leslie Goodwins. Produced by Cliff Reid, 1939.
Erens, Patricia. The Jew in American Cinema. Bloomington: Indiana University Press, 1984.
Friedman, Lester D. Hollywood's Image of the Jew. New York: Frederick Ungar Publishing Co., 1982.
Hangin' With the Homeboys. Directed by Joseph Vasquez, 1991.
West Side Story. Directed by Jerome Robbins and Robert Wise, 1961.
Sparta was known for being strong, but was it really? In case you don’t know, Sparta was a Greek city-state. Sparta only focused on war. Spartans were only taught the basics of other topics. Spartans were trained for 13 years just to fight. Reading and writing were only taught in Sparta for practical reasons. The strengths didn’t outweigh the weaknesses. There were more weaknesses to Sparta than there were strengths. The strengths of Sparta didn’t outweigh the weaknesses for three reasons. The first reason is that the babies were killed just if they looked weak. The second reason is that the Spartans barely new anything about other topics (math, reading, writing, etc). The third and final reason is that the helots outnumbered the Spartans 50 to 1.
Birth of a Nation was a film that broke several artistic boundaries in the film industry yet was seen as the most racist film of any generation. This has caused it to be a film under heavy debate since its release in 1915. One can never look past the racist depictions that this film portrays in it. However, to truly understand the film and explore its importance in the study of minorities in film, one must look at this film from all perspectives.
Kuhns, William. “The Movie Columnists.” Movies in America. London: The Tantivy Press, 1975. 142-73. Print.
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
For many years, African Americans have faced the challenge of being accurately and positively portrayed within mainstream media, such as American made films. They are often represented as people who are inferior to those of the Caucasian race, and are frequently presented with problems that are related to racial discrimination. The portrayal of African Americans in media such as movies has often been considered a large contributing factor to the racial tensions that still exist in our world today (Lemons, 1977). The movie, To Kill a Mockingbird, sheds light on the portrayal of African Americans in movies, and how stereotypes can greatly impact the lives of those who are not of the Caucasian race.
Woll, Allen L and Randall M Miller. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. n.d. Print.
Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were the only way for African-Americans to express the deep pain that the white population placed in front of them. Singing, dancing and acting took many African-Americans to a place that no oppressor could reach; considering the exploitation of their character during the 1930's-1960's acting' was an essential technique to African American survival.
Abstract My research focused on the coverage of Asian Americans in contemporary mass media. The following types of media were researched. Music Television Films Magazines I gave several examples where Asian Americans used to play very simple characters. These roles were defined by stereotypes that exist in America.
The number of Asian American communities is growing in the U.S. population, however, these groups of people are often marginalized and misrepresented in mainstream media. In today’s mainstream media, there is a visible lack of Asian American representation on film. Asian actors, when given roles in film and television, are rarely cast for central roles and form about only 3% of prime-time characters (Ramasubramanian, 2011). Not only is the number for casting Asian and Asian Americans low, the roles of these characters are often portrayed in the stereotypical ideology which has been present for decades. But why are Asians portrayed the way they are? Why has Hollywood maintained its representational practices when it comes to the portraying Asians? Why do these portrayals persist in the presence of a growing Asian population and racial diversity? What is the significance of the Asian American segment for Hollywood? To what extent does the consideration of the Asian American market influence the way Hollywood portray Asians? These are the questions that surface when watching films, and in the lens of an Asian American, many Asians and Asian American do not fit the mold created by Hollywood. First, I will introduce the range of common film representation of Asians. This literature review will focus on the negative and positive light of Asian representation , the structure of Hollywood film industry and its effect on representing Asian race, the social acceptance of Asian stereotypes, and Asian American’s social identity theories.
Hollywood’s diversity problem is well-known; however, the extent might be surprising to most Americans. According to a 2014 report by the Center for the Study of Women in Television, Film & New Media, found that females comprised only 30% of all speaking characters among the top grossing films of 2013. (Lauzen, 2014) However, minority women faired far worse than their Caucasian counterparts. As a matter of fact, if one looks at the numbers even female characters from other world’s were as better represented in film than some minority women; the numbers are as follow for women: Caucasian (73%), African American (14%), Latina (5%), Asian and other world tied (3%). (Lauzen, 2014) If the lack of representation were not enough consider a 2009 study which found that when minority groups are portrayed on television the portrayal tends to be negative. (Alexandrin, 2009) A study by Busselle and Crandall (2009) found that the manner in which African-Americans are portrayed, often as unemployed criminals, tends to have an influence on the way the public perceives African-American’s lack of economic success. Furthermore, the news media does an equally poor job in the ways that African-American’s are presented; according to the same study while 27% of Americans were considered “poor” in 1996 the images of America’s “poor” being presented by news media was heavily Black (63%). (Busselle & Crandall, 2002) Today, this can be seen in the way that African-American victims of police brutality are depicted in the media. Even when African-Americans are murdered at the hands of police for minor and non-violent offenses (e.g. Mike Brown, Eric Gardner, and Tamir Rice) they are often portrayed as thugs, criminals, and vandals. What’s more, seve...
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
Santiago is a complex character who learns a lot through the course of this story. He is a very good, humble man and loves Manolin, his apprentice. Santiago is a poor man and is regarded as bad luck by others because he was not caught a single fish in 84 days. One cannot help feel sorry for him because he is very alone. His wife died and the book suggested that he never had any children. Yet he was humble and did not complain at all about his hard life. Santiago is a very persistant and determined character. He fought the huge marlin that he had caught for three agonizing days desopite feeling intense pain. He often had contradictory feelings and thoughts. One that I found strange was when he felt sorry for the marlin while he joyfully pondered how much money he would get for selling the fish.
...eturn. What the old man does not realize is that he does receive something in return. He has an experience that not many other people have had or will ever experience. He has gained knowledge of how to be more prepared for an event like this. And he has attained the respect of the townspeople, who had once thought he was sad and pitiful. Santiago is a brave and defiant old man who is sad that he did not manage to complete his journey with his trophy beside him. If one was to look into this more and try and come to a conclusion as to why the old man constantly repeats that he went out to far, I think they would find that it is the old man's way of dealing with his loss. As much as he says it though, I do not think that if he had it to do over again, he would stop before he caught the fish. Santiago is a true fisherman and he would do whatever it took to prove that.
Human resource is the most valuable and unique asset of an organization. The successful management of an organization’s human resource is an exciting, dynamic and challenging task , especially at a time when the world has become a global village and economies are in a state of flux. The lack of talented resource and the growing expectation of the modern day employee has further increased the difficulty of the human resource function.
Daily in the USA about 38 million banknotes of various face value for total amount about 541 million dollars are issued (Facts about USA money).Dollars involve deep consequences both for the USA, and for other countries. Increase of its course relatively reduces the volume of export revenue in dollars, quite often involves more considerable, than change of an exchange rate, falling of the world prices, especially on raw materials. On the contrary, decrease in a dollar rate serves as the powerful tool promoting growth of the American export and a pushing off of competitors of the USA in foreign markets. At the same time import to the USA owing to effect of a rise in prices restrains. Thus, for the USA changes in the exchange rate of dollar anyway bring benefits and advantages.Reduction of leading positions of the USA in world economy is assisted by the international role of dollar which remains the main reserve and settlement means in world monetary system. Foreign currency reserves of the central banks of other countries for 61% consist of dollars, nearly 2/3 calculations in world trade are carried out in dollars; the dollar serves as a measure of value of many important goods (for example: oil) in the world market; in dollars 3/4 international bank crediting is made (Aleksandr Popov). Changes in the exchange rate of dollar involve deep consequences both for the USA, and for other countries. Increase of its course relatively reduces the volume of export revenue in dollars, quite often involves more considerable, than change of an exchange rate, falling of the world prices, especially on raw materials. On the contrary, decrease in a dollar rate serves as the powerful tool promoting growth of the American export and a pushing off...