African American representation in the film industry has always been a topic for discussion. Whether talking about character types and roles, the actors being cast or not cast, and the lack of diversity in front of and behind the camera. ‘The contemporary status of race in mainstream American culture is intimately bound to the process of representation within and through the mass media.’ (Rocchio, 2000, p. 4). Any role that was to be played by an African American kept in with the dominant stereotypes of the time of production; incompetent, child like, hyper-sexualised or criminal.
We figured the most sensible course of action was to hole up in the alleyway outside the club and wait for the fervent toe tapping to subside. I had barely finished my first cigarette when a lanky figure dressed something akin to Tom Joad on his way to church approached our little assemblage. I recognized him at once as Stephen Dickel, banjo player of the headlining band. “Anyone know where a fellah can get a bottle of whiskey in this neighborhood?”, he asked plaintively. Jill shrugged, explaining that we were from the East Bay, and thus, had little idea where he might try. Jill, apparently sensing the desperation in his face, thrust a small flask of Bushmills into his hand. After a great deep swallow, he proceeded to explain his sad situation. “This goddamn hippy club issued only two drink tickets to each of us. How, for the love of Mary, do they expect us to play in this condition?
An early scene in George Roy Hill’s film Butch Cassidy and the Sundance Kid (1969) shows illustrious bandit Butch Cassidy walking into a bank and observing a series of security upgrades (e.g. an alarm system, a safe, and several different locks). As Butch Cassidy exits the establishment, he asks the security guard, “What happened to the old bank?” The guard responds, “People kept robbing it.” Butch remarks, “Small price to pay for beauty.” Although Butch Cassidy’s disappointed assertion may have been rooted in disappointment for the loss of a heist rather than the loss of architectural merit, it leads one to question: To what extent are cultural attributes lost at the expense of new technology? I will consider this question as I examine the ways in which Butch Cassidy and the Sundance Kid highlights the
Johnny Cash’s life has been documented not only in autobiographies and books but in films as well, as we have seen from the three films shown in the module – Walk The Line, a feature film, Johnny Cash: The Last Great American, a documentary, and Walk Hard, a satire film based on the plot of Walk The Line.
Big Fish, a movie by Tim Burton is a story about a father's relationship with his son. The movie sounds simple but it has an unusual way of revealing the plot by skipping back and forth between the current plot and the father's past. All together, Big Fish has a great meaning behind the storyline and tells the story so graphically and beautifully.
Butch Cassidy and the Sundance Kid, is a movie that challenges the conventions of the normal Western gebre. The movie does it through the way it portrays the two aging bank robbers. Butch Cassidy and the Sundance Kid, are a pair, who for the most part complement each other, and when together are an almost indomitable pair. Butch is the brains, who “keeps on thinking,” and Sundance is the hard-headed gunslinger who “likes to go his own way.” They are a pair who usually try everything they can to get out of trouble, through defusing the situation with their wits. The way the movie follows not but two protagonists, and even how both of them are “two-bit outlaws,” is a major deviation of what Westerners were usually regarded to be. Throughout the
Fried Green Tomatoes at the Whistle Stop Cafe, a 1987 novel by Fannie Flagg was the basis for the movie by the same [slightly shorther] name. When Evelyn Couch visits a nursing home, she befriends Ninny Threadgoode who tells of a story from her childhood of Ruth and Idgie, two very good “friends”. Looked at through the lens of the encoding/decoding model, we can track the presence of the heterosexual will to not know in Fried Green Tomatoes (1991) through the films’ particular uses of the butch/femme trope and through its use of specific camera shots that capture the tension between Ruth and Idgie.
The Pursuit of Happyness
The pursuit of happiness is a film where Will Smith shines is a tale of rags-to-riches filled with love, family, and pursuance the American dream. Will takes the role of Christopher Gardner who was a salesman struggling to satisfy the needs of his wife Thandie Newton and their son Jaden Christopher Syre Smith. With the persistent financial problems, his wife gives up the struggle abandoning him and their son. Things get worse as Gardner and his son are evicted from their residence leaving them with no option but try surviving on the streets of San Francisco.
Little Grown Men
Nobody can teach someone else to grow up.to me it means that you cannot force someone to mature because that is a decision that person has to make in order to “grow up”.
The Movie Of mice and men is a good example the character Lenny is an immature man, he acts and has the mentality of a kid. his buddy tries to help him”grow up” but he is unsuccessful in doing so, Lenny is a child stuck in a man's body.
The humor in Blazing saddles dates back to the 70's type of satire that was used. The jokes that were made in blazing saddles would definitely be problematic in today's sensitive audience. Jokes for example calling people the N word for fun can cause issues today , while back in the 70's it was okay to say it all the time. Senseless humor like the sign that said "Knock on barb wire first to come in", was so ridiculous that it made it funny. One good example that showed how dated the humor was, is when Mr. Hedley wanted a way to get rid of the people of Rock Ridge. The conversation between Mr. Hedley and a railroad official had a funny joke that started off with "we'll kill the first born child of every household ow wait that's too Jewish".