Hidden Figures Is A Box Office Success Representative Of

994 WordsMar 15, 20174 Pages
Hidden Figures is a box office success representative of the socio-political climate of the modern cinematic developments in the West. With the Hollywood stamp of approval, so to speak, Theodore Melfi’s directing and the diplomatic writing of Margot Lee Shetterly expose a ‘hidden’ moment in American history. This film promotes hope in a time of political confusion, i.e. the construction of a wall to illustrate Donald Trump’s xenophobic approach “to making America great again.” The sixties is a strategic backdrop for interweaving three distinct stories, accounting for each woman’s experience and service to NASA. These women’s legacies contributed to the launching of John Glenn into orbit. Their minds are the metaphorical shields to…show more content…
Katherine vehemently debases Harrison of his public condemnation for her frequent absences. Katharine speaks to the distance she travels each and every time she needs to relieve herself. She expresses the burden of these prejudices, which obstruct her work, her livelihood, and her responsibility as a single mother to provide for her daughters. The following scene is a touching demonstration of breaking racial boundaries. Harrison knocks the “coloured” sign down and asserts, “Here at NASA we all pee the same colour.” Hidden Figures embeds a powerful theme for change. This film addresses the endurance of principles impeding change, including, amendments in politics, and democratic systems. Paul Strafford, a NASA engineer undervalues Katherine’s work. Refusing to let her sit in on the editorial meeting of John Glen’s fast approaching mission. Strafford’s behaviour is telling of his insecurities and fear of competition. He personifies those who aim to preserve the distinctions between the public and the domestic. The trivialization of Katherine’s role is challenged when Strafford says, “There’s no protocol for women attending,” and Katherine’s responds, “There’s no protocol for a man circling Earth either, sir.” The film acknowledges the beauty of diversity and the mixing of gender, race, and class. Thankfully, Strafford’s character develops
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