In the early 70’s, the common genre of blaxploitation set the stage for African-American films we see today. Two films in particular, Superfly and Shaft, brilliantly use stereotypes and imaging to tackle racial controversies in our society. Although the plots of these films are quite different, they both deal with the idea of black characters “sticking it to the man.” Contrary to earlier films that presented black characters with inferior roles of slavery and/or poverty, the main characters are depicted with positions of authority and power. The directors use these characters to defy the stereotypes and misconceptions that blacks are labeled with. In addition to exciting and intense storylines, these two movies provide insight into the urban lifestyles African-Americans held in our society during the 70’s.
The store he was working at was dull and monotonous, and he did not want to end up like his store manager Lengel, who was telling the girls they cant wear bathing suits to the A&P. Sammy mainly quits his job because he wants to move up in life and actually live it. When he sees the “queen” of three girls walk up to the register with the “Kingfish Herring Snacks” it suddenly hits him. He realizes that these girls are from a wealthy class, “ all of a sudden…picking up herring snacks on toothpicks off a big plate” (Updike 134) who are living the good life. Sammy also saw a foreshadowing of his future if he had kept his job.
However, a first time viewer does not expect and truly appreciate the important messages that are delivered throughout the film. The director’s presentations of inter and intra racial conflicts during the plot of the film are presented with varying degrees of comedy and drama. The first conflict in the film arises in Sal’s pizzeria due to the lack of black people on the wall of fame. This scene brings out feelings of absurdity and amusement from the viewer. However, as the film continues the altercations in the plot become progressively more dramatic and bring out the realization of the truth that dominates society.
• Holiday – Blackpool. Support hours? Staffing levels? • LR support most affected by issues discussed under Staff sickness/shortages heading. • Attending Wed Club weekly and not going to monthly disco • • PP • Very low/down and tearful (didn’t attend college this week) • Update on dizzy spells/medication • Update on bathroom refurb progression • CEA card has arrived and PP has been to cinema, so now an achieved and ongoing Goal & Aspiration • PP frequently changing mind on where to go on holiday and who to go with resulting in nothing being booked.
Prior to the embarrassment she experiences, she goes about finding her snacks. Her confidence brings to light her awareness of being watched. It’s almost as if she’s putting on a show. When Lengel challenges her behavior, however, her self-confidence deteriorates. Accused of her skimpy attire, she discovers that her yearning to be seductive has left her helpless when she becomes aware of the position of which she has put herself.
So by forming a delinquent subculture, it becomes a means of achievement through an illegitimate opportunity structure. In terms of evaluation, Miller disagrees with Cohen's approach to explaining delinquency and argues that it is false to assume that all working class delinquents see mainstream values, goals and success as superior and desirable and therefore develop delinquent tendencies due to this and a lack of approved methods of getting to said goals. There is also research carried
The two films Do the Right Thing (DTRT) and New Jack City (NJC) are drastically different in terms of style, content, and approach to life in New York and the complexities of race and racism, but there is a common thread in the philosophy of the two films. The films have been categorized as “black film noir” and both use the techniques of film noir to address the struggle of Black people in terms of social equality. Defining the traditional “film noir” is a difficult task, but Dan Flory, author of Philosophy, Black Film and Film Noir introduced the concept of “black film noir,” which is described in cinema as a way to look at characters for who they are and how they are supposed to live; this categorization is a perfect way to discuss these two movies. Film noir typically portrays (white) characters who could be described as seedy, or criminal, such as in crime dramas of the 1940’s and allows the viewer to try to relate to the characters in that realm. Flory suggests, that because racial (and other) minorities have often been denied the recognition and rights due them as full-fledged human beings, reflecting on their situation through engaging with black film characters can prompt a deeper, more philosophical sort of reflection.
Barbara will now be unemployed until she secures a job elsewhere, and with almost her entire earnings at Wal-‐Mart invested into her barely livable hotel room, she really has no extra money to get her by with living essentials until she is employed again. Leaving Wal-‐Mart seemed like a viable option to her because she had extra money saved away because she is not actually living on minimum wage. At the end of the day, Barbara has enough money to keep herself fed, clothed, and under a roof. Her friend, Melissa, on the other had, has very little money saved up and may not actually be able to sustain normal living conditions while in-‐between jobs. In conclusion, I applaud Ehrenreich for taking a stance against Wal-‐Mart and deciding to leave her job there.
She’s obviously been given this speech in the past because she finishes all of his sentences. At her house, she tells Morgan (Paula Patton), who hopes to nab an NBA player for herself. She doesn’t have a job, but she thinks that all the research she puts into finding an NBA husband is work. The next day, she and Leslie head off to a nets game, dressed very differently. Leslie’s in a pair of jeans and a jersey; Morgan’s in a dress.
For example, in the movie she tells her friend how much she wants to be assistant manager, but never sends in the application. The movie has some of the four elements of a Cinderella but not all of them. For example, in the movie there is recognition through a token, in this case the boy but no magical gift or person. There is also a dance/dinner but it is not where the heroine is introduced; and there is an ill-treated girl, who may be worthy, but is not rich to begin with. The movie also adds a level of ethnicity by making Marisa or Cinderella Hispanic, and she is even caught in the act, which is a new thing for a Cinderella story.