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The movie that I picked to watch was the World’s Fastest Indian. Now one would think this is about Native Americans, but for others they know an Indian is a motorcycle. The movie is about a man named Burt Munroe that is in his late sixties but is still a child at Heart. He has been modifying his Indian Motorcycle for over 20 years so he can beat the land speed record in Bonneville, Utah. As he makes his journey he faces many challenges that seem to try their best to slow Burt down, but being the quirky man he is, he finds ways to get around the obstacles that are set before to achieve his dream, which he does achieve in the end. This movie does have an instance where the term sociological imagination would come in to play and that is the motive …show more content…
that Burt has throughout the movie, and that this dream does seem impossible at times due to the obstacle that is set in front of him. We would expect that a man of Burt’s age would give up if the task was too big. The way it would help an individual understand the movie is that when a man is set on a path that he wants to complete he will do anything to achieve it just like you and me achieving our dreams. Throughout this movie there are norms that we would see today, but not back then. One norm that I do see in the movie that would be still alive today, would be the Americans supporting Burt when he comes over to America. The reason I say this is a positive norm even through today, is that as Americans there are people out there that would break their neck to make sure they are ok. Also as Americans in society we are supposed to help people out in a time of need. To every positive there is a negative. The negative norm that I believe is in the movie is the he/she that broke the cultural norm of being cross gendered. In today’s time we would find this behavior vary normal, but in the time of the movie this was still looked down upon. Going throughout the movie we do see many parts of sociological views, one example is material and nonmaterial culture. A material culture in the movie world’s fastest Indian is the Indian motorcycle. The reason I say this is Burt grew up around the time of when the Indian came out, and when his family obtained one it became part of his life ever since he was a small kid. So, Burt made this bike part of his everyday life it became part of his culture to wake up to work on the bike this was his life. Going to nonmaterial culture Burt also takes the cake on this one too. The reason I say this is because of the set of beliefs that the man has throughout the movie. He set his life on being a positive happy man, and as we can see throughout the movie since Burt is living his life this way he makes an impact on everyone he meets. One type of culture that is evident is taste cultures. The reason being is that the there are many people that like certain ways certain things are made. Burt for example instead of getting a regular motorcycle he keeps his Indian and modifies it daily to keep his bike. As in America we seem to want the item that is hip on the market. We conform to the taste that are being made big at the time. In everything we do in society there seems to be a social structure in society such as status, role, group, and institution.
Even in movies. In the world’s fastest Indian we see that the status of Burt being just an old mechanic from New Zeland, plays a part in what he does in the movie. What I mean by this is that he may not have power in the upper levels of administration he uses his status in society to better himself, such as when he fixes the cars to get a cheaper price and a free buggy to lug his Indian to Bonneville. To add on to this Burt also has a role in the movie as the old man mechanic. His behavior and his actions make him the old man with motorcycle. Having this role allows Burt to have many supporters when he is off to set the land speed record. As the movie progresses he seems to attract more and more supporters behind him due to his status and role in the movie. There are people in the movie that seem to stick together as a group. The group that I am speaking of is the Biker gang in the beginning of the movie. These guys all seem to stick together through the thick and thin of the movie, and seem to have the same hatred of Burt in the beginning of the movie, but this is not the same as an institution. The biker gang was just a group. An institution in the movie is the Bonneville Speedway. This institution was founded on on the concept of going fast. This is why it was founded and kept its belief through and through. I would also label this a bureaucracy. The reason I do this is because the institution has a way to make sure everyone is working together to make sure the show is running smoothly. The examples would be the systems check, the announcer, the sign in sheet, and the crew that starts each
car. During the movie can also view the sociologist Mead, Cooloey, and Goffman. They fit together in the movie surprisingly well. To start off I will begin talking about Mead. Mead believes that we learn and adjust our view of our self through interaction with other people. Which is true. Burt adjusts his ways slightly to match the American way of living when he is over here. He also pictures himself as I would believe as a here of his own town. The reason I say this when he does the break the record people learn of the town he is from and puts it on the map. He is also a hero to the other fellow men that help him when he is over here in America. Going off that this connects into Cooley’s theory of the looking glass self. Burt pictures himself as a man with a mission when everyone is supporting him in his dream. He perceives himself as a respected man from all the respect that he gets. When he does come over he immediately meets some mean people and then becomes a little grumpy, but then picks back up again when he meets the woman/man that runs the hotel during the night. It all depends on the social interaction that we have this is why Cooley and Meads theories are predominant in the movie. To go even farther into theories Goffman’s theory that we do actions that the public can see, and then we do actions that are not serious for the public. The actions that Burt does in public is being the serious mechanic that he is when it comes to motor run vehicles. He keeps his professional manner when it comes to the vehicles, but the backstage of Goffman’s theory is being the fun-loving, goofy man that we see throughout most of the movie. Not only through the public eye can we can sociological actions take place, but we can also view through such great movies like fastest Indian. This movie was a great movie all in all. I believe it had great details, and showed the emotion in which a man would have for something he loves. I also believe it portrays what someone would go through to achieve a lifelong dream of an individual. I also like how the attitude of older man can influence so many people that they would actually help him along in achieving the dream he has. This movie I would highly recommend, it has a great story, amazing actors, and the reality that dreams are possible one just needs to stay positive even though rough patches are sure to come.
To conclude, “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, and “Race Relations Light Years from the Earth” by Mitu Sengupta, both identify and elaborate on the racism and stereotypical views throughout the stories by using nonfiction elements --authors purpose and main idea --to effectively support and explain how theme was distributed.
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.
By adapting the standard Hollywood ‘road’ movie narrative (east to west), incorporating modern music as non-diegetic sound and utilizing shocking scenes – both socially and in terms of ignoring every written and unwritten filming law - Dennis Hopper’s Easy Rider stands as a testament to the changes going on in the US during the late 1960s and creates a certain distance to the previous way of seeing America.
Although I have watched the movie, Crash, many times, I had never looked at it through a sociological perspective. It blew my mind how much you can relate this movie to sociology, but also the more I got to thinking about it, the more it seemed to make sense. Everywhere I looked I found someway to connect this movie to some sort of sociological term, which I thought was pretty cool.
What is sociological imagination? Our textbook describes sociological imagination as the ability to see our private experiences, personal difficulties, and achievements as, in part, a reflection of the structural arrangements of society and the times in which we live. The movie entitled Forrest Gump is a great example of sociological imagination. In this paper, I will cite examples from the movie and tell how they correlate with sociological imagination. Sociological imagination allows us examine the events of our lives and see how they intersect with the wider context of history and tradition of the society in which we live. (Hughes/Kroehler, The Core, p. 7)
The road movie embodies the human desire for travel and progression. The vehicle of journey is a contemporary metaphor of personal transformation that oftentimes mirrors socio-cultural desires and fears. Thomas Schatz believes that one “cannot consider either the filmmaking process or films themselves in isolation from their economic, technological, and industrial context.” This statement is especially applicable to the independent American films of the late sixties, a time of great political and social debate. Easy Rider (1969) was considered a new voice in film that was pitched against the mainstream. In the 1960s, there was a shift to highlight the outsiders or the anti-heros in film. This counter-cultural radicalism seems to have also influenced the 1991 film, Thelma & Louise. The characters of both films act as figures of anti-heroism by rebelling against the conventional and unintentionally discovering themselves at the same time. Despite their different backgrounds, the protagonists of Eas...
For this assignment, I decided to watch “Crash”, a movie set in the streets of Los Angeles California and that shows the lives of various individuals with different cultural backgrounds. The movie starts with the scene of a car crash between an Asian woman and a couple of detectives near the sight of a murder, as the African American detective Graham Waters walks around the scene he stops because he saw something that shocked him, and from there a flashback begins. The first relevant scene shows, Anthony and Peter, two African Americans individuals walking down the street talking about racial discrimination. As they talk a couple passes by them and the two decide to steal their car. This causes a chain of events affecting the lives of many
Gina Marchetti, in her essay "Action-Adventure as Ideology," argues that action- adventure films implicitly convey complex cultural messages regarding American values and the "white American status quo." She continues to say that all action-adventure movies have the same basic structure, including plot, theme, characterization, and iconography. As ideology, this film genre tacitly expresses social norms, values, and morals of its time. Marchetti's essay, written in 1989, applies to films such as Raiders of the Lost Ark and Rambo: First Blood II. However, action-adventure films today seem to be straying farther away from her generalizations about structure, reflecting new and different cultural norms in America. This changing ideology is depicted best in Oliver Stone's Natural Born Killers (1994), which defies nearly every concept Marchetti proposes about action-adventure films; and it sets the stage for a whole new viewpoint of action in the '90's.
The film I picked is "The Good, The Bad, and The Ugly." I first saw this movie about five years ago while a senior in high school. I loved the movie, but now after watching it I took a closer look at the stereotypes and generalizations that are being depicted in various ways like language, names, landscapes and people. I picked this film because the movie is famous and very well known by Italians, Americans, and Hispanics, and not just famous in America Hollywood (and because I had list of required films I had to pick from). While watching the movie my second time around I tried and focus on the location where the movie takes place in order to demonstrate how lands of Mexico, New Mexico and Texas generalized. I also placed attention to the names the characters are given. There is a term used in Hollywood called little man wins' but after watching The Good, The Bad and The Ugly one observe how this cliché is not used.
The power of film is immense in modern American culture. The symbols and identity’s created in these films has proven to possess a lasting impact shaping in new cultures. Film has not failed to accomplish this using the motorcycle. Although a controversial image the motorcycle possesses a strong identity of freedom and brotherhood creating an individual counterculture. The freedom represented by the motorcycle contradicts previous connotations and transforms our definition of freedom. The motorcycle also provides a cultural identity of rebellion and brotherhood. Film has contributed greatly to creation of the motorcycle identity and has not failed to capitalize on the power symbolism the motorcycle represents. In many cases film created the motorcycle image we think of today.
The Sociological Imagination speaks to the understanding of our own actions being a part of a larger historical and social picture. It encourages us to see what influences we have and what influences society has over our own individual lives, whether our decisions are determined by sociological factors and forces or are entirely in our own control. The sociological imagination enables us to see the relationship between history and biography. It helps us to understand the relationship between personal troubles and public issues, and as well as this, it addresses the three profound questions that C. Wright Mills asked. The three videos given, offer a range of successful and unsuccessful insight and explanations about the sociological
These institutions and associations are inter-related in a particular arrangement and thus create the pattern of social structure.
Stereotypes are dangerous. Within today's culture, it is very easy to get wrapped up in a single story mindset and a power struggle, only resulting in stereotypes and generalizations being created about different cultures. A single story is described by Chimamanda Ngozi Adichie as a story of one aspect of a single person’s life used as a basis for how everyone within that culture lives all of the time. This idea of a single story shows up all over the place including in the book Absolutely True Diary of a Part-Time Indian by Sherman Alexi. The kids at Reardan School judge the main character, Arnold Spirit Junior, his first day attending a school that wasn’t on the Indian reservation. People need to create a balance of stories and tell them
The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun. Progressions in the industry were hindered by blaxploitation films such as Shaft, but these too were overcome with the 1970's movies like Song. The true creativity and experiences of African Americans started to be shown in the 1980's with directors like Robert Townsend and Spike Lee. These directors helped enable black cinema to expand in the 90's with the creation of works ranging in brutal but honest portrayal of urban life to that of comedy. By analyzing Spike Lee's film Bamboozled, director John Singleton's Boyz in The Hood, and movies like Coming to America and House Party indicate that the experiences of African Americans and the way that they are depicted in cinema directly impacts the way mainstream society perceives them to be, while showing that African Americans are a major driving force behind creativity and ingenious inspiration behind many aspects of American life.
Meyer , J. W. , and Rowan , B. “ Institutionalized Organizations: Formal Structure as Myth