Self Awareness Theory Is Defined By Duval And Wickland

To understanding the long, not just personal, but societal effects it is necessary to conduct a research on the history of film, and the individual effects of the exposure of it from any

Today, Film and Television are among the most internationally supported commodities. Financially, their contributions are enormous: both industries are responsible for the circulation of billions of dollars each year. Since their respective explosions into the new media markets during the mid-twentieth century, film and television have produced consistently growing numbers of viewers and critics alike. Sparking debate over the nature of their viewing, film and television are now being questioned in social, political, and moral arenas for their potential impact on an audience. Critics claim that watching films or television is a passive activity in which the viewer becomes subconsciously

Although cinema is now a priority, some feel as if cinema is no longer the cinema when it was first established. Movies no longer have that special feeling like viewers once had. Today, films are not only shared within a theater, if one pleases they could always have the same experience elsewhere. Moreover, with technology expanding, it takes away the importance cinema once had. “The

Hollywood cinema also produces its own realities on the big screen. As Cecil B. De Mille. Goldfish and Samuel Goldfish claimed during the production of the first motion picture, “when real life doesn’t fit a preconceived image, create another reality” (xi). Since that 1913 statement, Hollywood has fostered this type of reality-making that results into an escape for its audiences. Aside from the physical escape of traveling to the movies or Blockbuster in order to view these films, audiences are also invested in the characters they view on screen. However, Webb informs the public that “what appears on the screen is a stylized version of real life (or a plausible vision of imaginary worlds) that is made possible by the prolonged collaborative effort of hundreds, working in support of a celebrated few” (3). The “reality” of the cinema lies in producers, directors, actors, back-lots, etc. involved in its creation rather

In America, our self-image is undoubtedly one of the most important aspects of our daily lives. In an ever-changing world, we are constantly working in the lens of which we believe the world sees us. But is this true of all people? Disparities in self-perception between different groups of people can easily be detected through cultural psychology (Heine, Takemoto, Moskalenko, Lasaleta & Henrich, 2008). Perception, especially self-perception, can vary vastly from one culture to another. One perspective that drove home this idea was the thinking that East Asian’s attempt to place their concern with self-concept in the hands of the people around them, as opposed to some other cultures that can be found to focus more prominently on

Television, movies, songs, and social media are the cultured lenses in which we view the world. What we perceive through a screen can change where we stand on certain topics; for example, gender messages and body images.

“The biggest mistake we have made is to consider that films are primarily a form of entertainment. The film is the greatest medium since the invention of movable type for exchanging ideas and information, and it is no more at its best in light entertainment than literature is at its best in the light novel.” - Orson Welles

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

Hip-Hop is a cultural movement that emerged from the dilapidated South Bronx, New York in the early 1970’s. The area’s mostly African American and Puerto Rican residents originated this uniquely American musical genre and culture that over the past four decades has developed into a global sensation impacting the formation of youth culture around the world. The South Bronx was a whirlpool of political, social, and economic upheaval in the years leading up to the inception of Hip-Hop. The early part of the 1970’s found many African American and Hispanic communities desperately seeking relief from the poverty, drug, and crime epidemics engulfing the gang dominated neighborhoods. Hip-Hop proved to be successful as both a creative outlet for

Film undeniably exposes us to stunning volumes of sensorial information. How film influences human imagination, though, is hotly debated. In the Frankfurt School, Max Horkheimer and Theodor Adorno assert that film is a manipulative technology that makes us docile and submissive. In contrast, Walter Benjamin effectively rejects Horkheimer and Adorno's argument by recognizing film's ability to expand our imagination. Although Horkheimer and Adorno make several good arguments, their polemical stance towards film seems shortsighted; Benjamin argues film can help us acclimate to the conditions of modernity.

Films and movies hold much than we can guess, they reveal a lot of vices and rots that are happening in society. Others give a history of a particular society, its beliefs, culture and their standard of living in the society. Films are used to disclose the social responsibilities in a given season and customs, moral values, societal worries and other cultural practices.

The term ‘hip-hop’ refers to a complex culture compromising of four elements: deejaying, rapping, rhyming, graffiti painting, and b-boying. These elements incorporate hip-hop dance, style, and attitude. “Hip-hop originated in the primarily African American economically depressed South Bronx section of New York City in the late 1970s” (Tate, pg.1). Hip-hop is a culture of fashion, language, music, movement, visual art and expression. The genre of hip-hop comes with a very significant history and evolution with its own heroes, legends, triumphs and downfalls. “Real” hip-hop is often stressed in the 21st century due to what is being passed off as hip hop, and it is often made clear that just because one takes a hip hop class, or listens to hip-hop music, does not mean they conform to the true immersion of hip-hop culture. Therefore, “real” hip-hop encapsulates the true essence of hip-hop culture, untarnished by impurities such as rapacious record labels, and vapid, materialistic subject matter. Due to the background of how and where hip-hop first emerged, the African American culture often feel responsible to protect what is for them, and to protect the culture of hip-hop entirely. Boyd states that even though hip-hop as a culture was created as a social movement, the “commercializaiton” of hip-hop demonstrated in film and media construes it to another form of urbanization and popularity”(Boyd, 79). However, in the two movies being examined in this essay (Save the Last Dance

Films are arguably the most accessible politically charged art form for United States citizens. Visual arts are intended to occupy an individual’s senses more than other forms of art, thus they have the power to teach, inspire and shape the perceptions of individuals. Cinemas help to create a shared narrative experience amongst people from different cultural backgrounds, forcing audiences to collectively consider topics they may have never believed serious before. Films have the capacity to stir an individual to action, transform their view on politics and affect an individual’s biases. These characteristics have allowed cinematic creations to play a large role in guiding social change as well as influence political policy in the United States. With advances in modern technology and cinematic popularity, its influence has grown stronger over generations.

Dope, directed by Rick Famuyiwa, is a coming-of-age story that pays homage to ’90s-vintage ghetto dramas and destroys all stereotypes of a teenager coming from the hood. The character, Malcolm (Shameik Moore), whose entire style, from his classic high top hair cut to his 90s-fashioned clothing and shoes, conveys an obsession with hip-hop’s golden age, which for Malcolm continued until 2001. This movie expresses two sides of a geeky high school teenager growing up in the tough parts of Inglewood and having interests and hobbies that are not typically seen in a tough urban movie. It also shows counterstereotypic situations that usually would not be depicted with these characters. Rick Famuyiwa’s Movie, Dope, first breaks down the conformality of society and the way people think, then place the broken pieces together in a way to make the audience see life in different perspectives which, honestly, makes this movie unlike any other 90s based movie that we have all come to know as repetitive.

India has faced and still facing many social, political and economic issues. However every social problem is inter-related. The most significant issue in India is Illiteracy. Literacy along with awareness among the masses will enable the curb of social evils. Only by educating the masses, can there be change and progress in the country. Cinema as the most popular media can directly influence the masses by making them see the world around them in an artistic way and think positively and act proactively. Indian cinema which is now a century old has recently undergone a change and is fast emerging as a delightful medium of instruction, and motivational. Recently many films have been produced that aim at exploiting and utilizing creativity for educating the people. I have divided the role of cinema on social welfare under four heads;