By Harry M. Benshoff, Sean Griffin
America on movie: Representing Race, type, Gender, and Sexuality within the videos, second Edition is a full of life advent to problems with range as represented in the American cinema.
• offers a accomplished evaluate of the economic, socio-cultural, and aesthetic elements that give a contribution to cinematic representations of race, classification, gender, and sexuality
• comprises over a hundred illustrations, thesaurus of keyword phrases, questions for dialogue, and lists for extra reading/viewing
• comprises new case stories of a few movies, together with Crash, Brokeback Mountain, and Quinceañera
Read Online or Download America on Film: Representing Race, Class, Gender, and Sexuality at the Movies PDF
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Additional resources for America on Film: Representing Race, Class, Gender, and Sexuality at the Movies
What do ideas like ideology and hegemony have to do with mindless 53 escapism? To answer such questions, one has to recognize that cinema (and all other mass media) are important parts of American culture. Culture refers to the characteristic features of a civilization or state, or the behavior typical of a group or class. Culture is thus deeply connected to ideology: one might say it is the “real- world” manifestation of ideology, since characteristic features, social behaviors, and cultural products all convey ideology.
While women, homosexuals, the differently abled, and people of non-white heritage have made tremendous gains in social power during the last few decades, white heterosexual men still dominate the corridors of power in America. ) is called an ideological assumption. Ideology is a term that refers to a system of beliefs that groups of people share and believe are inherently true and acceptable. Most ideological beliefs are rarely questioned by those who hold them; the beliefs are naturalized because of their constant and unquestioned usage.
Chapters may also be assigned on a more concentrated basis or even used “out of order,” although we have provided a logical and easy-to-follow structure for the issues discussed. Each chapter ofAmerica on Film is organized within a broad historical framework, with specific theoretical concepts – including film genre, auteur theory, cultural studies, Orientalism, the “male gaze,” feminism, queer theory, etc. – integrated throughout. Each chapter features a concise and accessible overview of the topic at hand, a discussion of representative films, figures, and movements, a case study of a single film, and key terms highlighted in bold.