Ang Lee's film Hulk (2003) is based on a character whose origins lie in the world of Marvel comic books. In both versions, Bruce Banner is a repressed and unassuming scientist who, as a result of an accident involving gamma radiation, transforms into a massive green engine of destruction, known as the Incredible Hulk, whenever he becomes angry. The Hulk is the rampaging male id, unleashed by modern science upon a world unprepared for its limitless, primal fury. But as interesting as a literary analysis of the character might be – and the Hulk is rife with such possibilities – this is not where Lee's Hulk breaks any new ground. Indeed, by such standards, it is a mundane – if not, actually, a rather awful – film. But what Lee's film does that is extraordinary is its attempt to, not simply adapt the content of the comic books, but in some way translate the experience and aesthetics of the comic books onto the movie screen. In doing so, he alters the conditions of the filmic apparatus enough to warrant further examination.
However, the scene under examination in the textual analysis begins fairly conventionally. This scene is relatively early in the film, before the events that unleash the Hulk occur. Bruce Krenzler/Banner (Eric Bana) comes into the office he shares with colleague and ex-romantic interest Betty Ross (Jennifer Connely) at the nuclear biomedicine laboratory. Inside, he finds that Adam Talbot (Josh Lucas), a defence contractor who is one of the film's villains, has come to pay them a visit.
Talbot's presence is understood to be intrusive, as he is placed in the centre of the frame, marginalising Bruce and Betty to the the periphery in their own office (shots 1c, 3, and 5a). Furthermore, Betty's over-the-shoulder look back to Bruce as he opens the door in shot 1c seems guilty. There is something of the caught-in-the-act to the staging of Bruce's entry to the office. This establishes the tension of a romantic triangle between the three characters, which never fully emerges as a plot point, but remains as a subtext throughout the portions of the film that deal with Talbot.
Betty has to leave rather quickly to attend to some generic science (shot 5), but Talbot lingers a moment to have a "man to man" conversation with Bruce. There is some obvious tension between Talbot and Bruce as he makes overtures toward acquiring their research for military applications (and the ensuing financial benefit of selling the technology).
The author Justin Angle says how in a study the mascots and names were shown to people unfamiliar with Native American culture and the sport teams, in the end of the study most of the participants viewed Native American’s as “war like”, which can carry negative consequences in the real world affecting the views of some future employers, creating a view that though Native American’s can be seen as strong and bold they can also have been perceived as violent and irrational. The uses of Redskins also create the belief that it is culturally appropriate for the constant use of Native American culture this has led to thousands of schools and sports teams to have questionable mascots and names. Such as the Savages from Salmon High school and the baseball team the “Indians” whose mascot was a hooked nose red skinned Indian with bucked teeth. Comparing this to the now frowned upon depiction of African American as black red lipped stereotyped popular in the 1920s advertisements does it not show similarities in a cultures becoming a caricature. While one is view as racist the other is view and honorable due to it representing one of the greatest passtimes in America,
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
In a generation focused on social justice and the elimination of prejudice from our society, there is still a use of offensive language and terminology in the area of professional sports. In “The Indian Wars” by S. L. Price, Price attempts to make the reader aware of sports teams that use derogatory terms as their team name and their mascot. He does this by highlighting football, and trying to determine whether Native-Americans are offended by team names in sports, or more specifically, the Redskins. Price’s essay is ineffective because although he raises good points, he doesn’t help the reader to form an opinion by adding historical context to the derogatory names used. He also uses inaccurate poll results to make assumptions about the feelings
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
Cultural stereotypes have always existed and while they may have been acceptable to society in the past, that does not compel us to accept them in today’s society. One such stereotype which is used is that of Native American names and imagery for sports teams and in particular The Washington Redskins of the National Football league. While for many people, this is an argument that has just recently arisen, in actuality, the debate over the use of native names and images has been an ongoing issue for over 50 years. The subject of the Washington Redskins name has been debated across politics, media, academia, religious backgrounds and in the public square for many years.
The mascot of the Cleveland perpetuates a stereotypical image of Native Americans as a savage being tamed by settlers. Baseball, an American institution, is guilty of disgusting racism. This blatantly racist symbol must strike an angry chord with contemporary Native Americans, whose past overflows with examples of cultural abuse. On the hat of each player, an Indian with swollen red face and stupid slaphappy grin appears in an expression of gloating jubilation. All his facial features are exaggerated, and an erect feather ...
On the surface, Hitchcock’s wardrobe choice indicates that Margot and Tony should have a loving and caring relationship. However, when the audience compares the suits and dresses of Margot’s marriage and her affair, it is hard not to imagine the affair to be more intimate and passionate due to the presence of red. When looking at Margot’s fire-red dress, the audience notices that Margot is much happier with Mark than she is with Tony. This added meaning helps the viewer to establish the source of Tony’s anger, which eventually facilitates the murder.
Richard Estrada is a noted author, thoughtful, independent-minded associate editor of the Dallas Morning News. In his essay "Sticks and Stones and Sports Team Names," Estrada addresses the issue of whether sports teams should use names and images associated with Native Americans. Estrada believes that using Native American tribes/groups as sport team names are unacceptable. Native Americans have the right just like all other ethnic groups to rally against the world of sports entertainment. The “Washington Blackskins” would not last a week if that were a team name so why should we allow the name “Redskins.” Estrada argues that the newspapers should ban references to Native American nicknames. People of the sports entertainment world are ignoring the fact that Native Americans are a minority and they should get a say if they would like for a certain team/group to represent their symbols. Estrada establishes common ground by using all ethnic groups as an example to attract everyone’s attention. This strategy is very effective because it places all ethnic groups in the position of the Native Americans so they can see what it would be like in their shoes or to see things from their point of view. “The
Sports organizations that have ethnic team names and mascots have been a controversial hot topic for decades. Professional sports franchises like the Cleveland Indians, Atlanta Braves, and Washington Redskins have maintained significant presence and fan base in their respective leagues, but disputes over the perceived racial offensiveness of their names has surrounded them. Some Native American activist groups and political figures think ethnic team names and mascots are disrespectful to their culture and defame the historical legacy of their ancestors. They view the name “Redskins” as a racial slur, and the cartoonish-looking Chief Wahoo mascot for the Cleveland Indians as mockery rather than flattery. Despite the fact that sports franchises know their brand is offending ethnic groups, they have refused to change their team names. Native Americans have experienced psychological distress, lower self-esteem, and a lower sense of achievement because of the offensive and stereotypical names/logos of these teams ("Washington Redskins: Do Offensive Team Names Endanger Public Health?"). This begs the question, should sports teams with potentially offensive names and mascots be required to change their identities in order to be more racially sensitive and politically correct?
3. How might we get to the bald truth/reality of Stanley and Stella 's relationship during the poker game? How are we supposed to understand Stella 's motivation for being/staying with Stanley, despite his physical abusiveness? (that is, on what is their relationship based/founded/sustained)? How does the discovery of these things affect the relationship between Blanche and Stella, and why is this important?
The concept of the American dream has been related to everything from religious freedom to a nice home in the suburbs. It has inspired both deep satisfaction and disillusioned fury. The phrase elicits for most Americans a country where good things can happen. However, for many Americans, the dream is simply unattainable. In F. Scott Fitzgerald’s “Winter Dreams,” Dexter Green, a hardworking young man born into the middle class, becomes wrapped up in his pursuit to obtain wealth and status in his life. These thoughts and ideas represent Dexter’s fixation on his “winter dreams,” or, the idea of what the American Dream means to him: gaining enough wealth to eventually move up in social class and become somebody, someday. As Dexter attempts to work himself up the social ladder, he falls in love with Judy Jones, a shallow and selfish, rich woman. But to Dexter, Judy represents the very idea of the American Dream-- obtaining wealth and status. Dexter’s pursuit of Judy and essentially the American Dream becomes an obsession. In the end, Dexter is forced to accept the realization that his “winter dreams” are actually just empty wishes. By characterizing Judy as a superficial, materialistic woman, Fitzgerald criticizes the destructive nature of the American Dream.
In our current generation, the year 2016, one may think racism would be diminished but it has yet to be acknowledged. Most people would have thought discrimination ended with the time of slavery, but it continues to exist in indirect ways. When people think Native Americans, they think about how they were the true Americans and how they aided Columbus’s settlement into the Early Americas. Native Americans experience discrimination to this day, yet nothing has been said about the Indian’s existence and rights. In Kimberly Roppolo’s essay, “Symbolism, Racism, History, and Reality: The Real Problem with Indian Mascots,” constructs the reason and gives us an idea on why this type of racism still exists and why people continue to unknowingly discriminate
The use of Native Americans as mascots or team names has developed an issue that has been drawing controversy in today’s society. The question that must be asked then is: Why do we as a society quietly permit such disrespectful and hurtful conduct towards Native Americans continue, without taking any affirmative action to restrict it? Having people who run around in war paint and headdresses whooping it up at the sport games doesn’t honor anyone’s culture. It just praises racism and encourages people to learn nothing about Native American culture making mascots and team names insulting.
1. The scene begins by fading in on the back of the silent man’s head (Cary Grant) in Alicia’s bungalow. Then the camera zooms out while sweeping right to give the first full shot and view of both of the main characters. They are shown seated at a table, with many empty bottles of liquor and glasses.