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Academic literature on the topic 'Race awareness in motion pictures'
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Journal articles on the topic "Race awareness in motion pictures"
1
Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.
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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.
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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.
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Collins, Richard. "Honoring the Form: Zen Moves in Charles Johnson’s Oxherding Tale." Religion and the Arts 14, no. 1-2 (2010): 59–76. http://dx.doi.org/10.1163/107992610x12592913031829.
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AbstractIn Being and Race Charles Johnson compares a writer working with traditional forms to a martial artist who “honors the form” of his predecessors. In his 1982 novel Oxherding Tale Johnson honors the form of a number of traditional fictional genres, including the slave narrative, the picaresque novel, the philosophical novel of ideas, and Zen texts such as koans, sutras, and the twelfth-century graphic narrative, the “Oxherding Pictures.” Calling his novel a “slave narrative that serves as the vehicle for exploring Eastern philosophy,” Johnson alludes to Hindu, Taoist and Buddhist texts, as well as to Western literary and philosophical works, to dissolve the dualistic thinking at the heart of what he calls “the samsara of racial politics.” To be free of the illusory nature of “ontological dualism,” however, one must journey through stages of increasing awareness, admirably depicted in the ten illustrations of the “Oxherding Pictures.” From seeking a self (ox) that one thinks one has lost, to glimpsing the self that is first elusive and finally illusory, the seeker comes to realize that all identities are constructed and therefore temporary, including such notions as “race” and “self.” Like some biracial Everyman, Johnson’s narrator may not complete the journey by the end of the novel but he discovers much about the insubstantiality and inter-connectedness of himself in the world along the way.
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LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda." Journal of American Studies 31, no. 3 (1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.
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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.
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Fronc, Jennifer. "“HISTORICAL PRESENTATION” OR “LIBEL TO THE RACE”?: CENSORSHIP AND THE BIRTH OF A NATION." Journal of the Gilded Age and Progressive Era 14, no. 4 (2015): 612–15. http://dx.doi.org/10.1017/s1537781415000432.
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On April 9, 1915, the fiftieth anniversary of General Lee's surrender at Appomattox, The Birth of a Nation opened in Boston. Audience members were “prepared for the unusual” the moment they entered the Tremont Theatre. After “a young man in evening dress and a silk hat” took tickets, “two young women in flounced hoop skirts and with long curls … ma[d]e a sort of graceful minuet bow, and hand[ed] you a program.” While “soldiers ‘on guard’ in the Civil War uniforms of the North and South” flanked the aisles, another costumed young woman “escort[ed] you to your seat.” As the film projector flickered to life, a title card issued an important caveat to the audience: “This is an historical presentation of the Civil War and Reconstruction period and is not meant to reflect in any way upon any race or people of today.” D. W. Griffith did not write this title card; rather, the National Board of Censorship of Motion Pictures (NBC) inserted it to fend off protestors and signal its commitment to filmmakers’ First Amendment rights.
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FRONC, JENNIFER. "Local Public Opinion: The National Board of Review of Motion Pictures and the Fight against Film Censorship in Virginia, 1916–1922." Journal of American Studies 47, no. 3 (2012): 719–42. http://dx.doi.org/10.1017/s0021875812001375.
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This article examines the conflict that ensued when the National Board of Review of Motion Pictures (a New York City-based organization that opposed any form of legal film censorship) entered the debate over Virginia's state film censor board. Virginia's engagement with film censorship emerged out of its history and politics, particularly in regard to race relations. Elite white Virginians lived in fear both of federal intervention (with the specter of Reconstruction not far behind them) and of a local usurpation of political power by black Virginians. The National Board of Review (NBR) was largely ignorant of this situation, which worked against their goals and ability to cultivate reliable allies. In the 1910s and 1920s, film raised issues about authorities – locally based and oriented versus nationally oriented authority, private authority and municipal, state, and/or federal authority.
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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.
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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.
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Bakker, Gerben. "Stars and Stories: How Films Became Branded Products." Enterprise & Society 2, no. 3 (2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.
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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.
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Steyn, Raita. "Socio-cultural Status of Albinism in Africa: Challenging Myths, Concepts, and Stereotypes." Journal of Global Awareness 3, no. 2 (2022): 1–18. http://dx.doi.org/10.24073/jga/3/02/03.
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This article analyses the socio-cultural status of Albinism in Africa and the role unchallenged stereotypes, irrational concepts, and unfounded beliefs play in the lives of persons with albinism. Following some beliefs, persons with albinism” do not die but vanish” to later “return as ghosts to haunt the living.” The author discusses this paradox about persons with albinism identified as hunted victims and simultaneously haunting perpetrators. The research examines the concept of albinism being a curse from dead ancestors or theodicy and its association with supernatural powers. By a comparative and diachronic approach, the study challenges unsubstantiated stereotypes. This study aims at social awareness by demystifying established myths and discussing study cases and examples referring to media, art, performing arts, literature, photography, and motion pictures.
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Bakka, Jagadevi. "Gupta-Yantra : Spying Robot for Defence." International Journal of Innovative Research in Information Security 10, no. 04 (2024): 145–49. http://dx.doi.org/10.26562/ijiris.2024.v1004.05.
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Recently, with rising public security awareness, the demand for an efficient surveillance system has become highly significant. But, several monitoring systems developed have certain drawbacks limiting their applications. Therefore, a refined surveillance system has been proposed which could be utilized in many fields, especially in border areas for intrusion detection, to reduce the crime rates and to serve tremendous purposes. The project focuses on building a spying robot for maneuvering and monitoring in perilous environments. The module includes Raspberry Pi interfaced with DC motors, GPS, Pi camera, Temperature sensor, Fire sensor and ultrasonic. Meanwhile, the motion of the robot could be controlled by a web application through Wi-Fi connectivity. This robot is programmed to stream the live data over a virtual network and update the captured images along with the time stamp and location at certain instances to the cloud. Hence, it can transmit real-time videos and pictures with temperature measured.