The Role Of Attraction In Narrative Film

One does not necessarily have to cluck in disapproval to admit that entertainment is all the things its detractors say it is: fun, effortless, sensational, mindless, formulaic, predictable, and subversive. In fact, one might argue that those are the very reasons so many people love it. At the same time, it is not hard to see why cultural aristocrats in the nineteenth century and intellectuals in the twentieth hated entertainment and why they predicted, as one typical nineteenth century critic railed, that its eventual effect would be to over turn all morality, to poison the springs of domestic happiness, to dissolve the ties of our social order, and to involved our country in ruin." said Neal Gabler, the author of Life in the Movie: How Entertainment Conquered Reality. I agree with this quote, that entertainment is mind numbing and lessen the values of our society. Back in the nineteenth century, entertainment was something that actually stimulated their minds,

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

Many

The Myth of the Black Rapist, according to Davis’s Rape, Racism, and the Myth of the Black Rapist, “has been methodically conjured up whenever recurrent waves of violence and terror against the Black community have required convincing justifications.” So, a seed would be planted that an African American raped someone in hopes that it would help in their sentencing. It functioned as a form of social control because no one would stand up to support them; even if it was blatantly obvious that this male didn’t rape anyone, no one wanted to go against the “norm.” “The myth of the black rapist of white women is the twin of the myth of the bad black woman-both designed to apologize for and facilitate the continued exploitation of black men and women”

Rarely has a film impacted an audience and held the test of time as the film Gone with the Wind. I have always been curious if director, Victor Fleming and producer, David O. Selznick and screenplay writer, Sidney Howard knew what they were creating a masterpiece and how this film would have such an enormous impact on audiences for years to come. Interestingly enough there were some who thought the film should not be made, as Irving Thalberg said to Louis B. Meyer in 1936, “Forget it Louis, no Civil War picture ever made a nickel” (Ten Films that Shook the World).

The films involved with The Cinema of Attractions are disputed as being renowned for inventing a new and innovative type of cinema. Narrative is widely thought of as the only type of film in current times, but it came after the popularity of actualities. In 1900 people had more leisure time than they did before so they needed something to occupy their time. Films became an activity for everyone, regardless of class or age, and so there was a high demand for them. People were fascinated by movement and travelling as it was hard for the general public to experience most of the things shown on the films they saw; these films were called travelogues and were extremely popular as it allowed people to see the world. Actualities are possibly the first genre of film and have been argued to be the first documentaries. Common attributes of an

In 1857, Dred Scott proclaimed about African American (1999) having to restrain oneself rights or voices in sexual assault charges not being fair, because a male Caucasian can be excused and walk free. A sexual assault case in 1997, (NBC sportscaster Marv Albert) repeatedly harassed a woman multiple times of sexual (forcing her to perform oral sex on him). Once again, a Caucasian perpetrator takes over the driver seat and receives (rape charge was dropped, receive no jail time). Since, a male perpetrator has no charges he can easily find a job or education but also everyone will pardon him.

In hopes of reconstructing the term ‘”race”, Eubanks incorporates personal anecdotes to appeal to his audience’s side of logic and empathy. Eubanks begins his story with a personal anecdote detailing how he came across a secret photograph of a white man in his grandmother’s closet. Eubanks says, “My parents kept my grandfather’s portrait hidden because in 1960s Mississippi, with all its racial paranoia, displaying the picture in our living room would have been risky, if not impossible.” He evokes feelings of pathos by eliciting his readers to be afraid as to what would happen to his family, because he wants his readers to imagine how dangerous it was to be related to someone who was white and the dangers from being related to them. Next, Eubanks goes on to divulge a little history about the American south during the 1950s and “60s.

She erases the blackness of the woman to justify her actions, a common endeavor in white America’s exploitation of the black body. This endeavor is evident of the

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.

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

The actions of the black characters support the cultural stereotypes that are pervasive throughout this film. A stereotype is a widely held but fixed and oversimplified image or idea of a particular type of person or thing (Iftkar, 2013). Blacks are

In this essay I will be looking at the representation of interracial relationships and how these relationships have been portrayed in cinema from 1903 up until present. I will be discussing the how miscegenation has been represented to audiences over the years as a problem, and something that is unnatural. This essay will be anasyling scenes from movies such as Birth of a Nation, and What

Racism, prejudice and stereotyping, as the main themes of the movie, control all the sub-stories that are somehow linked to each other. Moreover, as the stories go on and events develop, it becomes possible to see how characters start to have changes in their perspective and attitude towards each other, either in a good or a bad way. An incident which can demonstrate our thesis on racism and stereotyping and how it might change in just one moment which brings people closer could be shown as the conflict between the racist police officer and the African American woman who gets harassed by him, and whose life is saved by him on the next day. The first encounter of the woman and the officer resulted with the woman

     “Paranoia concerning the protection of white women from sexual assault by black men is a legacy of American slavery that has fequently served as a focus for racist exaggerations about black men”(LaFree 312) Interracial rapes seem to cause the greatest sensation in the news, when the victim is white and the rapist is black. When a black man violates a white women, the news as well as the public