Colonialism And Racism In Crash By Paul Haggis

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Paul Haggis’s 2004 melodrama “Crash” is a film depicting the way diverse societies, cultures and environments affect each other’s lives. Characters are forced to interact and assist in uncomfortable and traumatic chains of events that impact the film’s ability to create intense moments that questioned are initial perspective of a character’s sense of morality. Haggis does an excellent job structuring the story around the concept of everyday life with unexpected moments of conflict, and developing the characteristics of each character which helps to create a decent storyline and initial representation for viewers to follow from beginning to end. The movie delivers a great deal of impressive and well-shot scenes that appeals to the viewer…show more content…
Crash address several societal issues that can be represented by Robert Stam and Louise Spence “Colonialism, Racism and Representation: An Introduction”. Subservient roles of minority culture do not disappear, instead they are enforced in film and revolutionized which can be interpreted from Stam and Spence ideology of colonialism. “Europe constructedits self-image on the backs of its equally constructed Other -the 'savage',the 'cannibal'-much as phallocentrism sees its self-flattering image inthe mirror of woman defined as lack. And just as the camera mighttherefore be said to inscribe certain features of bourgeois humanism, sothe cinematic and televisual apparatuses, taken in their most inclusivesense, might be saia to inscribe certain features of European colonialism.” Mis-representation and negative imaging do not leave the screens rather revolutionized into more rounded out stereotypical roles. Viewers understand that these characters are not good nor likeable by far, they’re simply no more than a product of their environment. Stam and Spence’s theory states that certain cliché dimensions of minorities in film support filmic colonialism when addressing racism. Social portrayal, plot, and characters all suggest that “Crash” express a more modern yet similar take on stereotypical roles that depict that nature of “urban” African Americans in real life. Instead of the common roles listed in Donald Bogle’s title

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