Hidden Figures And Bend It Like Beckham

Bend it Like Beckham (2002/3) is a romantic comedy written, directed and produced by Gurinder Chadha, a Kenya-born British film maker who grew up India. Director Chadha’s films often reflect on her complex background. Unlike many comedies, Bend it Like Beckham is filled with plenty of important themes. One of them addresses the importance of cultural integration.

While the former are portrayed as victims, the latter are shaped as artful supremacists and tenacious manipulators. However, the filmmaker manages to alleviate this idea by infusing wit and irony, aspects that remove part of the heaviness related to the topic itself, at the same time that enhance the entertaining values of his work.

In the film ‘Crash’ directed by Paul Haggis in 2004, several lives cross paths because of an adage, ‘it’s a small world’. The characters come from different backgrounds and social class, consequence, the underlying tone of race is presented in a facet which is a cause for concern. In today’s current tension infested race topic, stereotypes tend to push the notion that one’s perception of race, gender and class must be reality. The question becomes, where does an individual develop these notion and perception and does the blame belong to media and film. Looking at the movie ‘Crash’, it was nominated for over 100 awards and won 3 Oscars; impeccably depicted the intertwining of gender, race and social class that one would assume that the movie’s a depiction of reality. One may conclude that movies are responsible for the perpetual class and virtue given to the middle and upper classes only. Although Parenti’s belief that Hollywood films always attach virtue to the well-off middle and upper classes this is not always the class. Hollywood media and films are guilty of assigning privilege to some and strife to others, however the characters in the movie Crash, Brenden Fraser, Chris Bridges and Thandie Newton all form different economical classes display different types of class and virtue.

In Jean-Louis Comolli and Jean Narboni’s essay “Cinema/Ideology/Criticism,” they put forward the central argument that film is a commercial product in the capitalist system and therefore also the unconscious instrument of the dominant ideology which produces it. In opposition to the classic film theory that applauds camera as an impartial device to reproduce reality, they argue that what the camera reproduces is merely a refraction of the prevailing ideology. Therefore, the primary and political task for filmmakers is to disrupt this replication of the world as self-evident and the function of film criticism is to identify and evaluate that politics. Comolli and Narboni then suggest seven categories of films confronting ideology in different ways, among which the second category resists the prevailing ideology on two levels. Films of this group not only overtly deal with political contents in order to “attack their ideological assimilation” (Comolli and Narboni 483), but also achieve their goal through breaking down the conventional way of depicting reality.

Overall, ‘Bend it like Beckham’ was an inspiring and comical film of the conflicts that arise in the clash of culture versus family/culture. Many themes were presented within the film such as wanting is will. This theme is explained with the constant perseverance of Jess, where she set a dream for herself and never gave up, in the end accomplishing what she dreamed for; her goal. Another theme explored was that of, your parents don’t always know what’s best for you. Times

Conflict of Cultures in the film Bend It Like Beckham Gurinder Chada creates conflict of cultures in various different ways in the film Bend It Like Beckham. Gurinder Chada uses techniques such as accents in the voice, contrasts, stereotypes, sarcasm, characterization and juxtaposition of British and Indian cultures which creates humour. This creates a film that attracts the attention of the audience and keeps them interested in the storyline. In the film Bend It Like Beckham a young female Indian footballer hopes that one day she will be able to become a professional footballer and play for her country.

The novel, Never Let Me Go, by Kazuo Ishiguro and the film, Gattaca, directed by Andrew Niccols both explore through structural techniques how society’s expectations and fate can either limit or drive a person’s desire to succeed and the unfairness of discrimination. Although the protagonists in both texts face discrimination due to scientific advances in genetic engineering technology, the way that the characters are shown to cope with prejudice are vastly different. Both texts employ the positioning of the reader to evoke sympathy, in addition to using narrative structure and plot development to demonstrate how the influence of society can either impede or stimulate a person’s dream. While Ishiguro proposes that the expectations of society

Society tends to associate propaganda films with issues such as Nazi Germany and their film messages for their country; however, it is also possible for small independent companies, groups of like-minded people and individuals to use the media of film to incorporate messages for our society (The Independent, 2010). These messages are often in relation to changes that individuals should make in order to improve the standards by which they live their lives and changes to everyday habits that will benefit the individual, the individual’s family, a group of individuals or even a single person (Barnhisel and Turner, 2010).

The theories of Laura Mulvey and Bell Hooks share their views on how individuals who attend the cinema have the opportunity to gaze and interrupt the messages that are being portrayed. Based upon their views, spectators can have their own beliefs and views of life and not have to focus on societal practices of racism and sexism. The article “Visual Pleasure and Narrative Cinema” critiqued by Mulvey, focused on how sexism and voyeurism were the main theme in terms of how males dominated society and how woman were subservient to males due to castration. In the article “In Black Looks: Race and Representation” Chapter 7, The Oppositional Gaze, Hooks mainly focused on black woman’s identity and touches on both sexism and male/white female dominance over them. Both Mulvey and Hooks help to focus ones attention on how the white male sexist and black racial domination is portrayed by Hollywood in cinema. An example of this portrayal is represented by the movie “The Help”, produced in 2011 and directed by Tate Taylor.

In Danny Boyle’s film ‘Slumdog Millionaire’, a vast range of effective film techniques are used to communicate not only transitions and character traits/personalities, but also the ideas of how power can corrupt individuals, and how ideas can be communicated, such as how ambition can enhance an individual, or be the reason for their downfall, and how our past informs our future; our outcome in life is determined by where we’ve come from. They are able to visualise this with the three main characters. The protagonist Jamal, the antagonist Salim and Latika.

Gurinder Chadha is a British filmmaker who wrote, directed and produced the movie Bend it Like Beckham (G. Rings). The movie was premiered in the United States in 2003 and it had won praise from both critics and moviegoers for its accurate representations of the Asian culture (G. Rings) and initiating the topic for investigating a cross cultural study. Bend it like Beckham shows the socializing of the Punjabi Sikh families and the British English societies. It also stages the battle of a young teenage to breakdown the stereotypes placed

Bend it like Beckham is a film that was written, directed, and produced by Gurinder Chadha, a British film maker who was grew up in India. The film focuses on the main character's desire to play football and the conflict she faces due to her obligations to her traditional Sikh family. The character, Jess Bhamra, must make the decision to pursue football or follow her parent's wishes and complete school and marry and Indian man. As Jess struggles to find her own identity without losing her family, she befriends a British footballer Jules. Jules' parents offer an interesting parallel to Jess' family, showing that although cultures may be very different in some ways, they are actually very similar in others. Director Chadha explains that

Progression in technology comes with progression of education. The movie “Hidden Figures” highlights the opportunities involved when intelligent, courageous women take strides to create the math to send astronauts to the moon. This movie is about three historical African American women who worked as “human computers” at the NASA Research Center in Langley, VA in the early 1960’s. Katherine Johnson (fellow mathematician), Dorothy Vaughn (programmer) and Mary Jackson (engineer), contributed to NASA space program to successfully send John Glenn, the first man to orbit around the earth, Project Mercury and later Apollo II mission. The film is a powerful reminder of the destructive consequences of discrimination. It holds important career lessons about how to manage and excel at work even under challenging circumstances.

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.

Katherine G. Johnson, the main character in Hidden Figures, looked beyond through working long hard hours and easily tackling problems due to the color of her skin. Despite these obstacles, this woman strikes the viewers by constantly enjoying every second of her journey and remaining respectful to those who don’t return it. Johnson’s powerful dialogue discloses the confidence within herself and how content she is with her actions. Katherine Johnson knew who she was clearly stated in her line,” I don’t have a feeling of inferiority. Never had.