Let 's Just Get Some Dessert

The Film "West Side Story" illustrates how the Puerto Ricans of New York faced discrimination and were used as scapegoats by the American people during the cold war time period to escape their anxieties. Due to the fear of communism and possible nuclear war the 1950-1960s time period was a very fragile time for the American people which produced an air of xenophobia throughout the country. The air of xenophobia is present throughout the play due of the repeated mention of stereotypes about Puerto Ricans and the constant feeling that the Puerto Ricans do not belong. The people of American often dealt with these anxieties in one of two ways, through escapism or through and through the scapegoating. This is made very clear through the comparison of West Side Story to the play The Music Man in the document “West Side Story and The Music Man: Whiteness, Immigration, and Race in the US during the late 1950s”. Like many waves of immigrants, the Puerto Ricans faced discrimination when they arrived and for some time after. This came in the form of people being discriminatory directly to them, housing discrimination and job discrimination. Therefore, the play “West Side Story” expresses the discrimination that Puerto Ricans faced due to the xenophobic nature of the time period.

In part two, A Mysterious Past, Steve is placed with a teacher from the Upward Bound program, Mr. Sykes. In his care, Steve is able to graduate from high school and is accepted into his dream school, Boston College. He then begins to look into his past and becomes engrossed in the cultural history of New Bedford and learns of his biological family. He finds the answer to the question behind his last name, Klakowicz, and meets family

Steve greatest struggle is found within himself while he questions if he is a monster and he is forced to question on

At first glance, the documentary Meet the Patels could easily be billed as a real-life My Big Fat Greek Wedding. Centered on Ravi Patel – a first generation Indian-American man – and his quest for love, it certainly displays all the trappings and inner workings of a riveting romantic comedy. However, beneath the exterior mesh of a typical boy-meets-girl frame story, as well as Ravi’s interactions within his branch of the Patel clan, one can also detect various allusions to the struggles of American homosexuality and gay marriage within the plot.

|almost like a childhood crush. Zeena is very suspicious of their relationship. The last straw was when Mattie broke the pickle dish while Zeena was away. This was |

Steve displays the phallic personality, as evidenced by his use of women for sex. An unresolved Oedipus Complex is the cause.

23 year old Sikh, Mindy Sanghera, was described to be a highly intelligent, straight-A student at Birmingham University. She intended to become a dentist after finishing up her last year in dental school in 2007. (Britton) In the summer of 2005, she met a Muslim man named Sair Ali through a friend, and the two began a relationship. Sair was in an eight year engagement with his cousin Sana, and was soon to be married. Despite his commitment to Sana, he continued to be in a relationship with Mindy concealing his fiancé. (Daily Mail [A]) Mindy’s feelings for Sair grew intensely and she wanted more commitment from him. Sair took advantage of their contrasting religious affiliations, to convince her that it was putting tension on their relationship,

The first play that we are looking at, Fences ,and Zoot Suit plays, I’ve chosen is multiculturalism. This is not the biggest part of the view in of these plays, the specific theme of the ethnic groups by El Pachuco in the Zoot Suit and the conflict of generations

Australian dramas, such as David Williamson’s “The Removalists”, inclination to depend on stereotypes is not a weakness, but instead an opportunity to explore personal and societal issues. The inclusion of stereotypes within the play does not hinder the exploration of these issues, but instead deepens the audiences understanding and awareness. Through familiar roles, such as the ‘Oker’ identity, Williamson heightens the play, and allows a production to focus on the themes being explored. By using stereotyped characters in contrast with realistic characters and style, Williamson effectively comment on the faults of society without the distraction of character complexity.

Three sources analyze the racial conflicts of white actors playing colored parts, and all agreed that it was not a trivial situation, for audiences, or actors. Racial tensions are very popular with the media. While there is some minor tension today, the movies and plays of Othello top the charts for most racial conflicts. First, The article, “Othello: the role that entices and engages actors of all skin colours,” by Andrew Dickson shows the history of the actors that played Othello, and when the actors were black, they were either not cast, due to segregationists, or were criticized in their performance for the same reason. Also, this article uses diction to convey the seriousness of white vs. minority crisis. Next, the video, “SHAKESPEARE UNCOVERED White Actors Playing Othello” by PBS, shows the performances of many Othello actors that were white. Additionally, the video shows one white actor who used makeup to make himself more than than black. The video uses hyperbole to describe the absurdity of Othello movies. For example, Laurence Olivier, the 1964 Othello was black-top showing how far film industries will go to cover-up racial tensions, and the narrator describes the makeup as ridiculous,and dramatic. Finally, the last article, “Aladdin: putting a white character in Disney’s live-action remake is offensive,” by Hannah Flint displays that film industries feel obligated to please a white audience, keeping the minorities second fiddle by adding characters white people

In the gripping play that has sparked controversy No Child . . . by Nilaja Sun, the harsh realities and heart brakes of intercity life is laid at the feet of its audience. The story is set in a culturally diverse high school in the Bronx, setting the stage for a group of unforgettably characters that can be easily identified with and the wise janitor who acts as the narrator of this play.

This consists of Israel, David, and Michelle. Israel is almost sixty years old and is living an openly gay lifestyle with his partner in New York while maintaining some form of a connection to Judaism. Israel has not been religious since a teenager, as he explains to an open minded and unique orthodox man that bumps into Israel in Brooklyn. In his conversation with this orthodox man, Israel admits that he is gay with words like “fag” and “feigalah” which are demeaning terms.

There are age related conflicts, cultural conflicts, religious conflicts and value based conflicts.  This movie is a film highlighting many cultural conflicts.  These conflicts continuously erupt in a working class Michigan neighborhood.  We will first examine a scene with religious cultural conflict. In the same scene we will see age based cultural conflict as well.  Next, we will examine a racial cultural conflict between the Hmong people and an American. After examining cultural conflicts, we will show two examples of popular culture in the film.  Then, we will provide the conflict management styles we would have employed to bring the same result as the current ending without the bloodshed and a general opinion of the film.

Steve is a 32-year-old American, who thinks that Kali is a straight woman, being set up on a date (or arranged marriage, which is the norm in their culture)

Theories of race and ethnicity have never been a high priority in society, and this is reflected through many narratives across the world and throughout time. Majority of narratives focus mainly on centralising the “whites” or Anglo’s as the focal point of each story, causing a distinguished imbalance or hierarchy, between the “whites” or Anglo’s and the “non-whites” or non-Anglo’s, Lucas (2014). This purpose of this essay is to research and investigate race and ethnicity, and how they are represented in the narratives of Tony Morrison’s Tar Baby and Zadie Smith’s White Teeth. The next focal point of this essay is to explore and identify how each narrative challenges the binary oppositions of centre and margin, which in this case, Tar Baby and White Teeth, challenges this binary opposition; centre and margin which is represented as whites and non-whites. The characters Jadine and Son from Tar Baby, and, Magid and Millat from White Teeth, must be analysed and used as examples, to be able to gain an understanding of how both of these concepts, race and ethnicity, and the binary opposition of white and non-whites, are represented or challenged.