Film Analysis : Southern Ideals

Mouse Morality: An Analysis of Christian, Family, and Homosexual Values in Disney According to Richard Land, one of the originators of the Southern Baptist Convention’s Boycott of Disney, Disney is pushing a “Christian-bashing, family-bashing, pro-homosexual agenda” in its film, television, and theme park empire. However, this accusation is not accurate in regards to the majority of entertainment that Disney produces. Since the beginning of Walt Disney’s creations, the brand has focused on promoting

Communication Analysis Injustice for women: Disney and Mulan Maeson Hebert CMST 101 Southern Illinois University A.A College of DuPage B.A Southern Illinois University Little girls everywhere spend their childhoods watching the princesses portrayed in Disney movies, dreaming about the day they too will meet their prince charming. They see how Sleeping Beauty is woken up by a prince, Cinderella marries a prince, Belle even turns a beast into a prince, and all of these instances teach

slave society. Tara Revisited examines the question of the Confederate defeat specifically from the perspective of southern women. It pays special focus to contemporary conceptions of the antebellum South, Civil War, and reconstruction. Tara Revisited highlights that much of Southern history from the mentioned periods was romanticized and marketed through music, print media, and film. Clinton believes that

to highlight the phenomenon in cinema known as the "counterculture youth-pic." This trend in production started in the late 1960's as a result of the economic and cultural influences on the film industry of that time. The following essay looks at how those influences helped to shape a new genre in the film industry, sighting Easy Rider as a main example, and suggests some possible reasons for the relatively short popularity of the genre. "The standard story of the counterculture begins with

of the Civil Rights/Black Power movement of the 60s. The two films that are being examined are Guess Who’s Coming to Dinner (1967) and Nothing But A Man (1964). Both films feature African-American characters as more than subservient supporting cast members such as maids, and servants. It reflects America’s progressing social attitudes as a result of the Civil Rights and Black Power movements. Throughout this paper, I will argue that films like the aforementioned reflect America’s changing social attitudes

attempt to highlight the phenomenon in cinema known as the “counterculture youth-pic.” This trend in production started in the late 1960’s as a result of the economic and cultural influences on the film industry of that time. The following essay looks at how those influences helped to shape a new genre in the film industry, sighting Easy Rider as a main example, and suggests some possible reasons for the relatively short popularity of the genre.      “The standard story of the

Lofaro observed more people were setting aside their differences with regard to gender and role stereotypes. while traditional gender roles and stereotypes have existed for a long time, social changes have altered the standard roles of men and womenn. Films have influenced the change in gender roles and stereotypes by introducing themes contrary to traditional roles. The trend began in the 1900s, women's roles moved from sweet and dependent on strong, outspoken, and independent roles. For instance, 1944

different works of high comedy, their similarities are much more visible upon analysis. Using satire as a critical tool, Twain and Chaplin call for social change that fits in line with the ideals of America, such as justice, equality and respect. By using satire in Huckleberry Finn and The Gold Rush, Twain and Chaplin argue that real American life is so far from being idealistic that the gap between the real and the ideal is shocking, unnerving and a cause for immediate reflection on behalf of audiences

comedy. Considering African American women, the Mammy has emerged as an icon throughout the 20th century, representing the foil to American white women (cf. Atkinson, 2004: 3). Having its roots in antebellum Southern America, the Mammy “was an important figure in the socialization of white Southern children” (DelGaudio, 1983). Considerably, various depictions of the Mammy present her performing arduous domestic duties in the household of their slave owners. Therefore, the Mammy replaces the white lady

comedy. Considering African American women, the Mammy has emerged as an icon throughout the 20th century, representing the foil to American white women (cf. Atkinson, 2004: 3). Having its roots in antebellum Southern America, the Mammy “was an important figure in the socialization of white Southern children” (DelGaudio, 1983). Considerably, various depictions of the Mammy present her performing arduous domestic duties in the household of their slave owners. Therefore, the Mammy replaces the white lady