American History X : Tony Kaye Essay

Movies and entertainment outlets speak volumes about the current state of a nation’s culture. Cinematic creations in the United States allow small voices to be heard and controversial issues to be addressed. However, a repetitive and monumental issue continues to be addressed, yet continues to persist in our 21st century culture, racial inequalities. Since the inception of the United States, black men and women alike have been disenfranchised at the hands of the “white man” in America. Instead of continuing the conversation today, the issue is continually silenced referencing the successes and achievements of the Civil Rights Movement in the 20th century. Nonetheless, an unfortunate reality looms upon this great land; racially based systems and structures continue to exist in 2015 the in United States. This paper synthesizes three films focused on racial inequalities in different time periods. Separate but Equal (1991), Selma (2015), and Crash (2005) illustrate how influential the Civil War amendments are, while serving as an uncanny reminder of how the racial prejudices during the 20th century continue to exist in our great nation today. Needless to say our nation has made great strides, but still has a long way to go.

American History X is clearly a film dealing with the social topic of racism. The interesting thing about this film is the way in which the subject is presented. First of all, it is obvious that, though racism is always a difficult subject to deal with, American History X presents it without any reservations or dummying down. Second, the film's figurehead for racism, Derek Vinyard (Edward Norton), is not an unintelligent redneck racist as films often portray them, but is in fact well-spoken, charismatic and bright, although he clearly holds ideals that are terribly wrong. Finally, the film shows that it is not only the white, neo-nazi racists who are fools for being involved in this, but all those who hold hatred in

American History X is clearly a film dealing with racism. The interesting thing about this film is the way in which the subject is treated. First of all, it is obvious that, though racism is always a difficult subject to deal with, American History X presents it without any reservations or dumming down. Second, the film's figurehead for racism, Derek Vinyard (Edward Norton), is not an unintelligent redneck racist as films often portray them, but is in fact well-spoken, charismatic and intelligent, although he clearly holds ideals that are terribly wrong. Finally, the film shows that it is not just the white, neo-nazi racists who are fools to be involved in this, but all racism is foolish. Through these methods, the film shows the viewer,

Using the language of the moving image, which includes cinematography, editing, sound, music and mise-en-scene, this essay will investigate the ideology of Racism in film. OxfordDictionaries.com describes racism as “Prejudice, discrimination, or antagonism directed against someone of a different race based on the belief that one’s own race is superior.” When we, the audience think of racism in film, we traditionally think of movies for adults and often overlook the sinister aspect of racism in children’s films. I have chosen to contrast a recent R-rated film with a G-rated Disney movie from the 1990s. Disney films, even up until the 1990s have persistently reinforced the image of blacks or latino and asian races as being below whites. The

The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith

Whiteness is an integrative ideology that has transpired in North America throughout the late 20th century to contemporary society. It is a social construction that sustains itself as a dogma to social class and vindicates discrimination against non-whites. The power of whiteness is illustrated in social, cultural and political practices. These measures are recognized as the intent standard in which other cultures are persuaded to live by. Bell hooks discusses the evolution of whiteness in an innovative article in which she theorizes this conviction as normative, a structural advantage, an inclusive standpoint, and an unmarked name by those who are manipulating this interdisciplinary. Most intellects, including hooks, would argue that whiteness is a continuation of history; a dominant cultural location that has been unconsciously disclosing its normativity of cultural practice, advocating fear, destruction, and terror for those who are being affected by this designation.

[1] Before I start this essay, I feel the need to remind the reader that I find slavery in all its forms to be an oppressive and terrible institution, and I firmly believe that for centuries (including this one) bigotry is one of the most terrible stains on our civilization. The views I intend to express in the following essay are in no way meant to condone the practices of slavery or racism; they are meant only to evaluate and interpret the construction of slavery in film.

Quentin Tarantino’s film Jackie Brown, released in 1997, challenges the pervasive stereotyping of not only blacks but specifically black women. Nowhere is the cinematic devaluation of African Americans more evident than in images of black women which, in the history of cinematography, the white ideal for female beauty has overlooked. The portrayal of black women as the racial Extra has been fabricated through many semblances in the history of American film. Film scholars and feminists alike have long been plagued with lament for the negativity and stereotyping that sticks with black women in American cinema. In this paper, I will argue that Jackie Brown highlights and stresses the racial variance of the female African American protagonist,

In the film American History X, the message revolves around white supremacy, just like most of the United States. The film begins with a white supremacist named Derek and his younger brother Daniel. A couple of African Americans try to rob Derek’s truck. Derek shoots them as he also splits one of the guy’s head open and he is sent to prison. Daniel watched everything that night, from beginning to end.

In the United States, the number of Asian Americans has been increasingly growing over the past decade (“The Facts on Immigration Today,” par. 32). However, as Benshoff and Griffin explain in their book America on Film, Asian Americans’ position in the media products of the early 21st century continues to be marginalised (138) and thus it creates differences based on race. Indeed, in the film Gran Torino, Walt Kowalski, a Korean War veteran, is firmly bound to the prejudices that he has towards the Asian American Hmong community that now lives in his once white neighbourhood. The prejudices that Walt Kowalski has are “heavily dependent upon social, ideological and historical concepts” (Benshoff and Griffin 47) and thus they seem to undermine the Asian Americans by putting them in a different position from the white Americans. Therefore, through the analysis of technical codes, of dialogues and of actions in the narrative, this essay will argue that in the film Gran Torino, Asian Americans are portrayed as an inferior race in comparison to white Americans.

In this essay I will be looking at the representation of interracial relationships and how these relationships have been portrayed in cinema from 1903 up until present. I will be discussing the how miscegenation has been represented to audiences over the years as a problem, and something that is unnatural. This essay will be anasyling scenes from movies such as Birth of a Nation, and What

American History X is a graphic, violence and a reality movie. The movie revolves around five influential characters and how they change the outcome of the movie. The focus is on the elder brother Derek and how his life changes by the various circumstances. The movie shows the racial discrimination during the 19th century in America. The five influential characters are Derek Vinyard, Danny Vinyard, Dr. Sweeney, Dennis Vinyard, the Laundry guy.

The film focuses on African American historical events, with special concentration on the civil rights era. With the White House segments of the film starting in the oppressive Eisenhower years, it offers a presidential level insight into the historic freedom movements of the 1960’s, all the way through until the day that Barack Obama is elected president in 2008. I am going to argue that Daniels’ representation of history and race are much more than a ‘parody of historical drama’, as he defies the ‘conventional’ stereotypes of Hollywood (Martin 2013) through the focus on individual character depictions and rejection of generalisations seen previously in African American films.

In America, racism as well as race relations are generally extremely sensitive subjects that are often brushed underneath the rug. Earlier this year, Jordan Peele’s Get Out graced the big screen, and left audiences with a great deal to digest. Peele’s first cinematic debut touched on the delicate topics of racism and the continuous devaluing of African American culture by “liberal” Caucasians in American suburbs. In this essay, one will explore the ways in which works written by modern political thinkers such as Nietzsche and Marx effortlessly add perspective through various theories on the difficulties brought to light in the motion picture, Get Out.

However, according to African American film scholar Thomas Cripps, these early films were not truly Black because their function, more or less, were to enlighten and mollify White people’s curiosity concerning Black culture. The argument presented by Cripps creates an opportunity for speculation on how to categorize a well-known group of films about Black people that in most cases included the participation of White filmmakers. How do we define the term “race film”? Moreover, can these films be considered a “genre” or are they imitations of similar narratives produced by White filmmakers such as comedies,