The early films in Hindi cinema dealt with mythological stories that were based on the epics of Ramayana and Mahabharata, family melodramas describing domestic and social obstacles of Indian society, and costume dramas that included historical themes concerning stories about the saints and princes. The first Indian talkie film ‘Alam Ara’ was produced in 1931 by Adershir Irani. The film was based on “costume drama full of fantasy and with many melodious songs to intensify the audience’s emotions.” In other words, Irani conveyed the social issues of Indian society through harmonious which were usually spread and performed via folklore and stage performances. The film went on to be a successful as it attracted much more audience to see the film than stage play and performances. This film set the stage for other directors to follow the pattern to produce films with songs and to emphasize on themes such as mythological, melodramas, action, political and historical subjects from there on with the addition of music. However, most of the earlier films contained narrations which required male actors to have the lead roles and females were given subordinated or domestic domain roles. Therefore, ever since women in Hindi cinema has been structured to play private sphere roles things that includes taking responsibility of their families, nurturing the children, standing for their familial and social rights, and advocating their neighbours and members of the communities which reflect the norms of Indian tradition goddess however in later films in 1970s and onward women were portrayed as sexual object. Therefore in Hindi cinema, the female actors have always been playing these neglected and marginal fixed classic and stereotypical roles s...
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Khan, U. Amir and Chaterjee, Saibal. Stereotypes: Stereotypes and clichés, 404 in Encyclopaedia of Hindi cinema by Aalok Wadhwa, Encyclopaedia Britannica (India) Pvt. Ltd. Uma Prabhu, Popular Prakashan Pvt. Ltd. Thomson Press Limited,: Noida, India, 2003.
Manual, Peter. Popular Music of India, 159 in Continuum Encyclopaedia of Popular Music of the World by John Sheppard. 11 York Road London: Continuum, 2003.
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In this paper I will attempt to discover how cultural differences affect communication in two movies of differing cultures. I will keep the names of the characters formal for both movies and for the Indian movie I will translate their lines to English directly. The first movie is of the Indian culture entitled Quayamat Se Quayamat Tak, which roughly translates to “From Armageddon Till Armageddon.” This has a classic Romeo and Juliet theme. I will focus on what I consider are the three main relationships in this movie: 1) Raj, the main male character, and Reshmi, the main female character, 2) Raj and his family, and 3) Reshmi and her family. The second movie is of the African American culture entitled Boomerang. This is in essence about a lady’s man who is in search for a perfect woman. Along the way to finding Miss Right he romances other women and as soon as he finds who he believes is the right one, she romances him. I’ve chosen three main relationships from this movie as well: 1) Marcus, the main male character, and Angela, the women he ends up falling in love with, 2) Marcus and Jacqueline, the female he believes is the perfect women, and 3) Marcus and his friends Gerard and Tyler. This essay will discuss how the friends of each movie communicate with each other, what good and bad communication behaviors they have, compare and contrast the relationships depicted in the movies, talk about how the theories of friendship in the course text apply to the friendships in the movies, converse about how each film portrays the culture of the characters, and lastly discuss what each film says about the communication habits of their respective cultures.
Film and its success during the period of 1910-1945 was heavily determined by the audience’s reception of the work. During this time, there was an influx of films being produced and stars rising within the system. Although the stars were seen as the role models and are portrayed larger than life, it is ultimately the audience that determines the fate of the success of the stars. Audiences would go see a film if a certain actor was in it; or an actor, and the name of the star alone can determine that a film will be somewhat successful. Within the film, however, it is the authenticity of the celebrity that the audience were looking for in the stars; the directors of film would need to cast people who were representative of their characters. Because
Maasik, Sonia, and J. Fisher Solomon. "The Offensive Movie Cliche That Won't die." Signs of life in the U.S.A.: readings on popular culture for writers. Boston: Bedford Books of St. Martin's Press, 1994. 407-411. Print.
In Shohat and Stam’s article, Unthinking Eurocentrism: Multiculturalism and the media (2013), they discuss the issue of racism within the media and entertainment industry, such as Hollywood films. More importantly, Shohat and Stam’s discuss the assertion of racial politics in casting within the Hollywood films industry. The interesting idea to their argument is that they suggest that for a film to become financially successful, the casting of the protagonist must consist of a white star as they are seen to be ethnically universal (Shohat & Stam, 190). They further suggest that the ethnic minority have been limited to designated roles which ultimately perpetuate their ethnic stereotype (Shohat & Stam, 190). They concern this issue by critically analysing and contrasting western Hollywood films against other ethnic films.
Film genre, in the modern filmic world today, is also very reliant on the actors that star in the feature. Automatically we, as viewers, would associate brawn and large stature with an action film, but occasional films tend to meld these characters into completely different subgenre, giving the film a very hybrid, generic feel to it.
Stereotypes are cultivated in mass media, Burton (2000, p.172) demonstrates that, of course, television channel is full of stereotypes.’ The media materials are full of stereotypes, which is characterized by continuous repetition.’
This paper will examine 10 major Hollywood films, one per decade between 1924 and 2013; with determining how Chinese image has been portrayed and how their portrayals have changed over time. The research also includes 3 case studies; I will select three famous Chinese actors who had achieved success in Hollywood and with reviewing their careers to examine the nature of stereotypies, as well as the power bal...
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
Some people might say that these movies provide entertainment and transport families into the lives of princes and princesses. Many critics have said that the films have amazing soundtracks and have detailed and interesting plots. Still, however entertaining the films may be, the way women are viewed and treated outweigh any enjoyment that a viewer could have. The subliminal lessons young women learn from these films have lifelong repercussions and negatively affect the female
Richard Stam argues that the study of racial issues in film has been bombarded by critics who reject certain films on the basis of misrepresentation. That is to say that stereotypes, sh...
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
...ality because everyone should have equal to do what they want. Popular culture spread the idea of nautaral which changed the position of female in the univeral. Women' knowlegdes and abilities seem to have rise a lot compare with 1990s. Woman would be a successful businessman, worker, fireman and so on. As mass media become the most important part of communication in the earth, the most infusive part to affect human's attitudes is the domestic or romantic drama. It spread the different concepts to the families, neighbors, friends etc by the interaction between them. Movie heroes are not spread one single-minded nowadays, the gender and sexuality of people or hero should all be equal.
Analyzing film has been around since the making of movies in the early 1900s. Here in the United States film really blossomed in the 1920’s. Production of films started on the West Coast in Hollywood. The earliest films were organized into genres or types, with storylines, settings, costumes, and characters (Dirks, 2010). Films are made to entertain, and when viewers watch the film they find themselves drawn into the characters personality and the plot. Because of film’s popularity many people use films as an agent of communication, education, and learnin...
As time goes on a gap is created between the past generations and the current generations. This gap between men in the 1950s and the men now (2009) are similar and different in terms of the roles they play, their attitudes towards society, women and work, and their identities. The root to the generation gap in India is due to the influence of media especially television and movies have caused people to look up to the characters and strives to act like them, which reinforce gender stereotypes and identities. For example, Love Aaj Kal, an Indian movie released in 2009 is a contrast of couples in the 1980s and present day. In the movie one of the actors says, “Aaj ke ladke bauth modern aur independent ho gaye hai. Hum aare zamane mein baath hi kuch aur thi” (Veer Singh). In translation, it means that, “Boys these days are very modern and independent. In our time things were different”(Veer Singh). The following are many different ways to interpret what the actor was trying to say about men then and now in regards to roles, attitudes and their identities.