America on Film: Representing Race, Class, Gender, and by Harry M. Benshoff, Sean Griffin

By Harry M. Benshoff, Sean Griffin

America on movie: Representing Race, classification, Gender, and Sexuality within the videos, second Edition is a full of life advent to problems with range as represented in the American cinema.

  • Provides a accomplished evaluation of the economic, socio-cultural, and aesthetic elements that give a contribution to cinematic representations of race, classification, gender, and sexuality
  • Includes over a hundred illustrations, thesaurus of key phrases, questions for dialogue, and lists for additional reading/viewing
  • Includes new case reviews of a couple of movies, together with Crash, Brokeback Mountain, and Quinceañera

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Extra info for America on Film: Representing Race, Class, Gender, and Sexuality at the Movies, Second Edition

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59: Going My Way, copyright © 1944, Paramount p. 60: The Quiet Man, copyright © 1952, Republic p. 63: Little Caesar, copyright © 1930, Warner Bros. p. 64: The Godfather, copyright © 1972, Paramount p. 68: The Jazz Singer, copyright © 1927, Warner Bros. p. 74: Crash, dir. Paul Haggis, copyright © 2004, Lions Gate Films p. 75: Funny Girl, copyright © 1968, Columbia p. 80: The Birth of a Nation, copyright © 1915, Griffith p. 83: Stepin Fetchit, unidentified publicity photo, authors’ personal collection p.

Parental prejudices (about the lower classes, about homosexuals, about the disabled, about other races or ethnicities) can also be passed down to their offspring, helping maintain those beliefs. As these examples of ISAs show, ideology functions most smoothly when it is so embedded in everyday life that more overt oppressive measures become unnecessary. In fact, the use of oppression usually indicates that large sections of a society are beginning to diverge from the dominant ideology. At their most successful, ISAs act as reinforcements for individuals who have already been inculcated into dominant ideology.

Similarly, a camera shooting up from the floor at a character will create a different feeling than a camera aimed at eye-level. In yet another example, if only one couple on a dance floor are kept in focus, the viewer will pay attention to them; if the whole ballroom is kept in focus, the viewer may choose to look in a number of directions. The fourth axis of film form is called montage or editing, and refers to how all the individual shots the camera records are put together in order to create meaning or tell a story.

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