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Books on the topic 'Film stereotypes'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Cyberbullies, cyberactivists, cyberpredators: Film, TV, and Internet stereotypes. Santa Barbara, California: Praeger, 2016.

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2

Film and stereotype: A challenge for cinema and theory. New York: Columbia University Press, 2011.

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3

Klobas, Lauri E. Disability drama in television and film. Jefferson, N.C: McFarland, 1988.

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4

Fishman, Sylvia Barack. I of the beholder: Jews and gender in film and popular culture. Waltham, MA: Brandeis University, International Research Institute on Jewish Women, 1998.

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5

Childhood Indians: Television, film and sustaining the white (sub)conscience. Scotts Valley, Calif.]: [CreateSpace], 2010.

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6

Reznik, David L. New Jews?: Race and American Jewish identity in 21st-century film. Boulder: Paradigm Publishers, 2012.

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7

Fuller, Karla Rae. Hollywood goes Oriental: CaucAsian performance in American film. Detroit: Wayne State University Press, 2010.

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8

Hollywood goes Oriental: CaucAsian performance in American film. Detroit: Wayne State University Press, 2010.

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9

Reel bad Arabs: How Hollywood vilifies a people. Northampton, Mass: Olive Branch Press, 2009.

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10

Reel bad Arabs: How Hollywood vilifies a people. New York: Olive Branch Press, 2001.

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11

Shaheen, Jack G. Reel bad Arabs: How Hollywood vilifies a people. New York: Olive Branch Press, 2001.

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12

Screening the East: Heimat, memory and nostalgia in German film since 1989. New York: Berghahn Books, 2011.

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13

Badmen, bandits, and folk heroes: The ambivalence of Mexican American identity in literature and film. Tucson: The University of Arizona Press, 2009.

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14

New Jews?: Race and American Jewish identity in 21st-century film. Boulder: Paradigm Publishers, 2012.

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15

Reservation reelism: Redfacing, visual sovereignty, and representations of Native Americans in film. Lincoln: University of Nebraska Press, 2010.

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16

Disney's most notorious film: Race, convergence, and the hidden histories of Song of the South. Austin: University of Texas Press, 2012.

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17

The drunken journalist: The biography of a film stereotype. Lanham, Md: Scarecrow Press, 2000.

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18

Kimchi, Rami. Shṭeṭl be-Erets Yiśraʼel: Sirṭe ha-bureḳas u-meḳorotehem be-sifrut Yidish ḳlasit. Tel Aviv: Resling, 2012.

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19

Hanisch, Michael. Kann denn Lüge Wahrheit sein?: Stereotypen im polnischen und deutschen Film. Edited by Freunde der Deutschen Kinemathek. Berlin: Freunde der Deutschen Kinemathek, 1995.

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20

Wulan, Nur. Gambaran dan stereotype tentang wanita dalam film anak-anak di televisi. [Surabaya]: Lembaga Penelitian, Universitas Airlangga, 1997.

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21

The matter of images: Essays on representations. London: Routledge, 1993.

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22

R, Lugo-Lugo Carmen, and Bloodsworth-Lugo Mary K, eds. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield, 2010.

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23

Richard, King C. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield Publishers, 2010.

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24

Documenting racism: African Americans in U.S. Department of Agriculture documentaries, 1921-42. New York, NY: Continuum, 2012.

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25

White Gypsies: Race and stardom in Spanish musical films. Minneapolis: University of Minnesota Press, 2012.

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26

Ross, Karen. Black and white media: Black images in popular film and television. Cambridge, Mass: Polity Press, 1996.

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27

Turkish German cinema in the new millennium: Sites, sounds, and screens. New York: Berghahn Books, 2012.

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28

First person Jewish. Minneapolis: University of Minnesota Press, 2008.

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29

Linda, Williams. Playing the race card: Melodramas of black and white from Uncle Tom to O.J. Simpson. Princeton, N.J: Princeton University Press, 2001.

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30

Film und Stereotyp (German Edition). Akademie Verlag, 2006.

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31

Latino Images in Film: Stereotypes, Subversion, and Resistance (Texas Film and Media Studies Series). University of Texas Press, 2002.

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32

Latino Images in Film: Stereotypes, Subversion, and Resistance (Texas Film and Media Studies Series). University of Texas Press, 2002.

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33

Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation. Syracuse University Press, 2020.

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34

Mahdi, Waleed F. Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation. Syracuse University Press, 2020.

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35

Criminalization/Assimilation: Chinese/Americans and Chinatowns in Classical Hollywood Film. Rutgers University Press, 2019.

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36

Gates, Philippa. Criminalization/Assimilation: Chinese/Americans and Chinatowns in Classical Hollywood Film. Rutgers University Press, 2019.

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37

Neale, Steve. Film, Cinema, Genre. Edited by Frank Krutnik and Richard Maltby. University of Exeter Press, 2021. http://dx.doi.org/10.47788/yrcc6901.

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This book brings together key works by pioneering film studies scholar Steve Neale. From the 1970s to the 2010s Neale’s vital and unparalleled contribution to the subject has shaped many of the critical agendas that helped to confirm film studies’ position as an innovative discipline within the humanities. Although known primarily for his work on genre, Neale has written on a far wider range of topics. In addition to selections from the influential volumes Genre (1980) and Genre and Hollywood (2000), and articles scrutinizing individual genres – the melodrama, the war film, science fiction and film noir – this Reader provides critical examinations of cinema and technology, art cinema, gender and cinema, stereotypes and representation, cinema history, the film industry, New Hollywood, and film analysis. Many of the articles included are recommended reading for a range of university courses worldwide, making the volume useful to students at undergraduate level and above, researchers, and teachers of film studies, media studies, gender studies and cultural studies. The collection has been selected and edited by Frank Krutnik and Richard Maltby, scholars who have worked closely with Neale and been inspired by his diverse and often provocative critical innovations. Their introduction assesses the significance of Neale’s work, and contextualizes it within the development of UK film studies.

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38

Weisenfeld, Judith. Race, Religion, and Documentary Film. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.2.

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This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience members and critics nevertheless took their representations of the religious practices of Africans and Native Americans to be truthful and invested in the films’ authenticity because their visual codes, narratives, and advertising confirmed accepted stereotypes about race, religion, and capacity for civilization. Examining these two films in the context of the broader history of documentary representations of race and religion—from travelogues, adventure, ethnographic, and expeditionary films through more recent productions—this chapter explores how the genre has helped to shape and communicate ideas about race and religion.

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39

author, Furnham Adrian, ed. Myths of work: The stereotypes and assumptions holding your organization back. Criterion Collection, 2018.

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40

Portrayal changes of the American athlete in popular film. 1993.

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41

Portrayal changes of the American athlete in popular film. 1993.

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42

Portrayal changes of the American athlete in popular film. 1993.

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43

Shaheen, Jack G. Reel Bad Arabs. Arris Books, 2003.

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44

From Bananas to Buttocks: The Latina Body in Popular Film and Culture. University of Texas Press, 2007.

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45

From Bananas to Buttocks: The Latina Body in Popular Film and Culture. University of Texas Press, 2007.

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46

Native Americans on film: Conversations, teaching, and theory. 2013.

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47

From bananas to buttocks: The Latina body in popular film and culture. Austin, TX: University of Texas Press, 2007.

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48

Raheja, Michelle H. Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film. University of Nebraska Press, 2013.

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49

Paola, Nobili, ed. Insulti e pregiudizi: Discriminazione etnica e turpiloquio in film, canzoni e giornali. Roma: Aracne, 2007.

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50

Davé, Shilpa S. “Running from the Joint”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037405.003.0007.

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This chapter examines how the sequel film Harold and Kumar Escape from Guantanamo Bay (2008) establishes Harold and Kumar as patriotic, racialized American citizens who are able to question American federal policy towards outsiders and regional stereotypes in the south in a post-9/11 heightened-security era. Harold and Kumar become the characters that the audience roots for. As in the first film, an Indian accent is not a performative characteristic or object. What is notable is that Harold and Kumar are “accent-less,” so their racial position does not define them. They do not act as cultural objects. In the world of the second film, however, government officials focus on what they look like—they are made hypervisible and seen only as a potential threat to the nation. In contrast to narrative of the paranoid security officials, the rest of the film minimizes their racial threat by having everyone else misrecognize them or surrounds them with exaggerated stereotypes that make Harold and Kumar normative and patriotic. The film allows Kumar, the victim of racial profiling, to protest his treatment and through humor diffuse some of the tension about issues related to detainment and racial profiling.

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