"He wanted to be just like Bruce Lee": African Americans, Kung Fu Theater and Cultural Exchange at the Margins. Journal of Asian American Studies, 5 (1), 31-40 (Article) Bibliography: Screaming Monkeys: Critiques of Asian American Images. (2003).Galang, M. Evelina (Ed.). St. Paul, MN: Coffee House Press. This essay compares and reviews the methods of the two above articles.
Austin uses the genre of a novel with literary techniques to present a satirical and sometimes humorous view of her 19thC world. While Heckerling uses the genre of film with primarily film and visual techniques to present a similar message in a modern world. Parallels in character are probably the most obvious. Heckerlings characters may use language of the 1990’s and have modern day interests and occupations, but they depict similar types of people with the same traits as Austin’s characters. Heckering exploits the contemporary genre of film to create, if you will, an Emma of our time.
Fadiman is constantly making cultural comparisons between the Hmong and American cultures. More importantly she seems to have developed a formula that starts with immersion and ends with promotion. The Hmong culture is relayed to us through Fadiman's words and then promotes the Hmong people's way of life. Throughout the book she believes that she is giving an un-biased, journalist type account of Lia's struggle. However, Fadiman's bias towards the Hmong people reveals itself early on in the novel when she juxtaposes each cultures treatment of epileptics and infants.
Raise the Red Lantern raises issues of the traditional patriarchal in China in the1920s, that were present in both the film and novel. There were several additional scenes in the film which was not present in the novel, that aided and elaborated on the themes of isolation and tradition that is present in the novel. From 1:55:00s to 1:59:00s there is the revelation of Songlian traumatised state and Lao Ye’s unfeeling declaration that Songlian is mad, and there is the additional scenes of the supposed ghost of Meishan, the third mistress, as well. The film expands on ideas and themes within the novel making additional scenes to interpret and elaborate on certain themes. The trauma of Lotus is kept in the both the film and novel which allows people to sympathise with her more especially after witnessing the death of Cora although they are expressed differently.
Popular fairy tale “Beauty and the Beast” explores different gender roles in its various versions. A gender role is a set of social and behavioral norms that are generally considered appropriate for either a man or a woman in a social or interpersonal relationship. Maria Tartar, Professor of Germanic Languages and Literatures at Harvard University argues that this well-known tale has been written primarily to state that it is indeed ‘Beauty’ who reforms the ‘Beast’ while British novelist Marina Warner argues against this claim and states that it is ‘Beast’ who brings out the wild side in ‘Beauty’. Contrary to the conventional claim of the man saving the woman or specifically the damsel in distress, much like Tartar, I too believe that this fairy tale has the stereotype reversed where the woman saves the man by civilizing him. Analyzing the gender roles of ‘Beauty’ and ‘Beast’ in Madame de Beaumont’s fairytale entitled “Beauty and the Beast” illustrates why I view women as the civilizing agent in their relationship with men.
Kilbourne 2 Jean Kilbourne is a feminist author, speaker, and filmmaker who is internationally recognized for her work on the image of women in advertising and her critical studies of alcohol and tobacco advertising. She has a popular essay piece called “Two Ways Women Can Get Hurt”, in this particular piece her main argument is that men and women are misrepresented as sex symbols and tools. The media puts women on display that dehumanizes them; the media also shows that women are usually submissive against men. In Judith Lorbers essay called, “Believing is Seeing”, Lorber argues that men and women are different biologically, that society can’t just label human beings as male and female. Lorber also says that not all people are completely men or completely women.
He also foregrounds psychologically complex characters that lack clear morals, goals, or desires, making for an honest and unbiased representation of the human condition and psyche. Rachel Getting Married is first and foremost an example of an art film, due to its use of unconventional filmmaking techniques to present a realistic situation and show a subjective experience, yet also incorporates classical Hollywood film features through its use of a narrative cause-and-effect structure. As Bordwell articulates in the article, “The Art Cinema as a Mode of Film Practice”, one of the two ways art cinema motivates its looser causal relations is through realism; this pertains to showing the viewer “real locations”, “real problems”, and “realistic characters that are psychologically complex” (776). In the film Rachel Getting Married, one of the most salient aspects is that the whole
This infers that the auteur theory applies to both these films. Furthermore, both the films seem to break the common conventions of Hollywood cinema, this can be seen in various sequences throughout the films. This would imply that these films could fall into the independent cinema category. This paper will analyze how the auteur theory can be applied to the films, Please Give and Friends With Money, and their common writer/director, Nicole Holofcener. Additionally, this paper will analyze how these films can be classified as independent cinemas, through various sequences seen throughout both films that break the common conventions of studio films.
Throughout Sunset Boulevard, the mise-en-scene constantly plays with ideas of gender stereotypes offering a reflective look at a patriarchal Hollywood that disposes of stars as quickly as it makes them. The Mise-en-scene of the sequence beginning at 29mins and 30seconds is notably visually intriguing, and through it’s use of character placement and mise-en-scene the sequence helps to shape the films representation of gender. The sequence beings with Norma leading Joe into her private screening room, so the two can enjoy Desmonds film Queen Kelly together. An initial wide shot allows for full scope of the enormity of the room, with its towering ceiling and ornate columns like most of Norma’s mansion, giving an ambience that Sam Staggs in his book Close-up on
This severely bound Western European women to docile, submissive stations. The theater provided an outlet for exploration in repressed areas such as female sexuality and male fantasy. In Samson et Dalila, Delilah embodies the exotic in order to capture the essence of what Westerners termed the “other.”
The definition of Orientalism also encompasses Western scholarly study of the Orient. Its basis is the study of ancient languages other than Greek and Latin, as well as their modern descendents. Allen Douglas and Fedwa Malti-Douglas describe this as the study of, “Hebrew and the other Semitic languages, including Arabic, as well as Ancient Egyptian and Coptic (along with