Who Is Fassbinder?

The Oscar Whiteness Machine, written by Richard Brody, was published in the online The New Yorker January 21st, 2016. The author has written for the New Yorker since 1999 and has been one of their white movie critics, one of the subjects of this article, since 2005. In the Article Brody takes the stance of a social justice warrior, proclaiming war on all those complicit in the disparity between white and black; especially in the film arena. His subject changes with paragraphs, movie critics, Oscar nominees and watchers, readers of the article, and anyone discriminatory. The Oscar Whiteness Machine is a mix of genres but it gets its main point across, black people have been discriminated against in the Oscars, and in life, and the film business plays a role in the suppression of black culture.

Sociologists concern themselves with social relations among individuals and groups within a particular society (Luton, 2015), so a sociologist would find this movie interesting because when analyzed through a sociological point of view it provides various examples of socialization,

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.

Both Laura Mulvey and bell hooks describe the idea of the “gaze” in film. In both of the theories presented by Mulvey and hooks, the “gaze” is the way in which viewers are subjected to a particular perspective because of their social standing. In Mulvey’s case, she argues that the “gaze” in which the audience is forced into is that of the “male gaze” while hooks argues a more nuanced “gaze” including the “oppositional gaze”. While some of Mulvey’s argument is accurate, hooks argues that it leaves out important other factors, in particular, race. Both arguments have many similarities and differences, and can be seen exemplified in many films, such as Spike Lee’s She’s Gotta Have It.

After completing your movie analysis, you will reflect on the analysis process and how you have learned to more thoroughly analyze film as well as how rigorous study of film enhances your development as a student and thinker. In this 300- to 600-word reflection, review your initial post from the “Post Your Introduction” discussion in Week One, and consider how your ability to analyze movies has changed or grown. Append your reflection to the analysis portion of your paper. Your reflection should be personal and exploratory in

Cultural diversity includes opinions, appearances, values, and beliefs, as well as the categories of race, ethnicity, social class, gender, sexual orientation, and disability (Koppelman, 2011). One method of understanding cultural diversity is through films. Films are often used as vehicles to reveal, discuss, and explore relationships, conflicts, lessons, and/or history. In an attempt to analyze the cultural diversity portrayed in a film, I have chosen to watch and analyze “Gentleman’s Agreement”.

In the fourth chapter of The Cultures of American Film, author Robert Kolker, indulges into the legacy of one of the most well-known writers, producers, and directors in early cinema – D.W. Griffith. Kolker dissects the cultural and racial implications of Griffiths most successful film, The Birth of a Nation, as well as, how Griffith impacted film. Griffith’s use of naturalism, parallel editing, and formal methods separated himself from other’s in the film business. We also get a look at how Oscar Micheaux responded to The Birth of a Nation, and became one of the first African-American filmmakers.

This film helps me to shape my overall outlook at multicultural issues and problems we face as a society, in that it causes me to see people’s talents and accomplishments, based on work ethic, rather than on a person’s race. I believe that this film can help with the issues and conversations that this film speaks to, because many people can understand that courage and accomplishments can defeat stereotypes and

     This film presents an individual that chooses not to conform to modern society, and the consequences of that choice. The main character

Last semester my documentary production professor told my classmates and I to avoid making films that were too much like Holocaust or civil rights films. This really struck me as an almost cold statement, however this semester in both this class and the film and Holocaust class that I took I began to understand what he meant. After reading most of Aaron Kerner’s book I understood it even more, it wasn’t a statement on the subject matter but the filmic techniques that have been overused in this genre. The most burnt out are the tropes within each film; like the crafty jew trope, the jew as a victim, or as a hero, and the usage of naziploitation.

[1] Before I start this essay, I feel the need to remind the reader that I find slavery in all its forms to be an oppressive and terrible institution, and I firmly believe that for centuries (including this one) bigotry is one of the most terrible stains on our civilization. The views I intend to express in the following essay are in no way meant to condone the practices of slavery or racism; they are meant only to evaluate and interpret the construction of slavery in film.

The review of this movie is based on sociological matters that are outshined in the film and touch on the lives of the individuals, their way of living, morals, behavior and cultural aspects. The film is set in a real society and concentrating much on social issues of the society more than the economic, technological and political status of this society based in New York.

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

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.

This is an agreed conception of film and human life, that man is a being with the possibilities of success or failure. We also see that Schatz’s way of thinking is how film and the settings of the culture are with in the film and what drives the film to its climax for the viewer, but at the end it does due what Schatz’s talks about with gangster films.