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Sunday, September 30, 2007
Monday, September 24, 2007
Issues in Fresh Prince of Bel Air
The following is an a extract from issues which were addressed in 'The Fresh Prince of Bel Air'
While largely a comedy, this show has commonly addressed various relevant issues in a dramatic sense, including a frequent focus on African-American issues. A recurring theme was the comparison of Will's lower-class upbringing and the Bank's high-class lifestyle, and how this affected their cultural identities. Profiling and stereotypes based on both race and class were often addressed on the show, including episodes where Will and Carlton are arrested because they are seen driving a Mercedes, and where Carlton is rejected from a fraternity for being too "spoiled". Other issues addressed included inter-racial marriage, drug and alcohol abuse, pre-marital sex, single parenthood, gun violence, and teen pregnancy.
This is interesting as Crash also addresses similar issues, looking at different upbringings - lower and high class. In Crash Anthony and Peter come from a lower class background whereas Cameron and Christine come from a higher class background and this affects their cultural identities. Referring back to the extract when Will and Carlton are stopped in their Mercedes, they are stopped partly because of their colour of skin and a black person wouldn't normally be seen driving a Mercedes because they may not have been able to afford it, therefore it would seem that they may have stolen it.
However if a white person was seen driving a Mercedes, it is highly unlikely that they would have been stopped
Below is part of an extract written by Mary Beltran / University of Wisconsin-Madison. It was posted on FlowTV - which is a critical forum on Television and Media Culture.
The extract is Based on The Fresh Prince of Bel Air
Without intimate knowledge of the evolution of ethnic representations on television and in film over the decades nor of the histories of various racialized groups, often it is too easy to see some variety in skin color combined with markers of upper-middle class status and to ascribe to these narratives the blanket interpretation of “positive” representation. If the non-white characters aren't criminals it must be good, right
The members of the Banks family, if anything, were ascribed stereotypes that have historically been the domain of wealthy white characters: Stuffy, materialistic, ditzy, and like their cousin Will, from more diverse West Philadelphia, in contrast was upbeat, confident, and playful–qualities that made him a favorite of many of my male students, of all ethnic backgrounds. Despite his central role in the narrative, Will's point of view and back story of growing up in a working-class, predominantly black neighborhood, which he has escaped by coming to live with the Bankses, is almost never treated in a realistic or sustained fashion, however. I find myself wanting to argue that “blackness,” if there is such a thing, as a result is left out. But then again, who is to say what form and meaning blackness has on an individual or family-by-family basis? And why can it not exist in Bel-Air? I see the flaws in my own argument, and have to admit that the representation of racialized groups is a topic that will continue to confoundus in various ways.
There's virtually no agreement on what it would mean to “represent diversity” accurately or fairly on television and in other mediated representations. Would this entail greater visibility of various racial and ethnic groups, increased realism and accuracy, or the inclusion of images that promote more egalitarian social relations? Even if “diversity” in this regard could be accomplished, would it even be supported by television advertisers and watched by enough viewers to survive?
Scholars, ethnic media advocates, advertisers, and media producers clearly disagree on these questions and will continue to do so, given the complexity of the matrix of production, representation, and consumption of media narratives and how race, ethnicity, and class are imbricated in that matrix and in U.S. social relations more generally. The 1990s programming that today's college students grew up on proves a complicated case in point. How to raise consciousness regarding patterns of representation that include the common invisibility and denigration(unfair criticism) of ethnic minorities, as well as the whitewashing of non-white histories and perspectives even while casting non-whites in more professional and “positive” roles? The challenge continues..
http://flowtv.org/?p=63
While largely a comedy, this show has commonly addressed various relevant issues in a dramatic sense, including a frequent focus on African-American issues. A recurring theme was the comparison of Will's lower-class upbringing and the Bank's high-class lifestyle, and how this affected their cultural identities. Profiling and stereotypes based on both race and class were often addressed on the show, including episodes where Will and Carlton are arrested because they are seen driving a Mercedes, and where Carlton is rejected from a fraternity for being too "spoiled". Other issues addressed included inter-racial marriage, drug and alcohol abuse, pre-marital sex, single parenthood, gun violence, and teen pregnancy.
This is interesting as Crash also addresses similar issues, looking at different upbringings - lower and high class. In Crash Anthony and Peter come from a lower class background whereas Cameron and Christine come from a higher class background and this affects their cultural identities. Referring back to the extract when Will and Carlton are stopped in their Mercedes, they are stopped partly because of their colour of skin and a black person wouldn't normally be seen driving a Mercedes because they may not have been able to afford it, therefore it would seem that they may have stolen it.
However if a white person was seen driving a Mercedes, it is highly unlikely that they would have been stopped
Below is part of an extract written by Mary Beltran / University of Wisconsin-Madison. It was posted on FlowTV - which is a critical forum on Television and Media Culture.
The extract is Based on The Fresh Prince of Bel Air
Without intimate knowledge of the evolution of ethnic representations on television and in film over the decades nor of the histories of various racialized groups, often it is too easy to see some variety in skin color combined with markers of upper-middle class status and to ascribe to these narratives the blanket interpretation of “positive” representation. If the non-white characters aren't criminals it must be good, right
The members of the Banks family, if anything, were ascribed stereotypes that have historically been the domain of wealthy white characters: Stuffy, materialistic, ditzy, and like their cousin Will, from more diverse West Philadelphia, in contrast was upbeat, confident, and playful–qualities that made him a favorite of many of my male students, of all ethnic backgrounds. Despite his central role in the narrative, Will's point of view and back story of growing up in a working-class, predominantly black neighborhood, which he has escaped by coming to live with the Bankses, is almost never treated in a realistic or sustained fashion, however. I find myself wanting to argue that “blackness,” if there is such a thing, as a result is left out. But then again, who is to say what form and meaning blackness has on an individual or family-by-family basis? And why can it not exist in Bel-Air? I see the flaws in my own argument, and have to admit that the representation of racialized groups is a topic that will continue to confoundus in various ways.
There's virtually no agreement on what it would mean to “represent diversity” accurately or fairly on television and in other mediated representations. Would this entail greater visibility of various racial and ethnic groups, increased realism and accuracy, or the inclusion of images that promote more egalitarian social relations? Even if “diversity” in this regard could be accomplished, would it even be supported by television advertisers and watched by enough viewers to survive?
Scholars, ethnic media advocates, advertisers, and media producers clearly disagree on these questions and will continue to do so, given the complexity of the matrix of production, representation, and consumption of media narratives and how race, ethnicity, and class are imbricated in that matrix and in U.S. social relations more generally. The 1990s programming that today's college students grew up on proves a complicated case in point. How to raise consciousness regarding patterns of representation that include the common invisibility and denigration(unfair criticism) of ethnic minorities, as well as the whitewashing of non-white histories and perspectives even while casting non-whites in more professional and “positive” roles? The challenge continues..
http://flowtv.org/?p=63
Thursday, September 20, 2007
What Critics have said about crash.
A haunting, perceptive and uncompromising examination of controversial subject matter, expertly written and directed by Paul Haggis and characterised by excellent performances from its starry cast.
Simon Braund, EMPIRE
A raw and unsettling morality piece on modern angst and urban disconnect, Crash examines the dangers of bigotry and xenophobia in the lives of interconnected Angelenos.
Rotten Tomatoes
Hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it's easily the strongest American film since Clint Eastwood's "Mystic River," though it is not for the fainthearted
The New Yorker, David Denby
And if Crash ultimately resolves itself around a series of sentimental familial tableaux, it also makes its social and political collisions resonate in our heads so as to leave them ringing. It’s a film you won’t stop thinking about, arguing over, debating, after the lights come up
New York Magazine, Ken Tucker
The film is a knockout. In a multiplex starved for ambition, why kick a film with an excess of it?
Rolling Stone, Peter Travers
This is the rare American film really about something, and almost all the performances are riveting.
Washington Post, Stephen Hunter
Simon Braund, EMPIRE
A raw and unsettling morality piece on modern angst and urban disconnect, Crash examines the dangers of bigotry and xenophobia in the lives of interconnected Angelenos.
Rotten Tomatoes
Hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it's easily the strongest American film since Clint Eastwood's "Mystic River," though it is not for the fainthearted
The New Yorker, David Denby
And if Crash ultimately resolves itself around a series of sentimental familial tableaux, it also makes its social and political collisions resonate in our heads so as to leave them ringing. It’s a film you won’t stop thinking about, arguing over, debating, after the lights come up
New York Magazine, Ken Tucker
The film is a knockout. In a multiplex starved for ambition, why kick a film with an excess of it?
Rolling Stone, Peter Travers
This is the rare American film really about something, and almost all the performances are riveting.
Washington Post, Stephen Hunter
Saturday, September 15, 2007
CINEASTE
Cineaste is a film magazine published quarterly. It has been publishing reviews, in-depth analyses and interviews since 1967. The magazine independently operates out of New York City with no financial ties to any film studios or academic institutions.However publication of the magazine is made possible, in part with public funds from the New York State Council on the Arts, a State Agency and the National Endowment for the Arts.
Here is part of a review which was written for Crash by Michael Sicinski
Paul Haggis's debut feature Crash is one of the best-reviewed films to be released so far this year, and it isn't going away. Judging from those reviews, its makers have successfully generated an air of Importance around it, and this is dangerous, because this pensive ambiance may well mean that the film's slipshod, contrivance-laden ‘analysis' of race relations could be mistaken for genuine insight.
Naturally, Haggis's choice of subject matter goes a long way toward establishing both its own relevance and a hard-nosed creative fearlessness bordering on the pugilistic. Crash tackles race relations in the U.S., using present-day Los Angeles as its roiling laboratory. Haggis must surely be aware that any such film project will be accorded a degree of respect simply by dint of addressing this topic. Since Hollywood generally avoids the unpleasant truths of American racism, any film that dives into this particular wreck must be brave, bracing, and controversial. Selecting L.A. is a kind of no-brainer here, for a few basic reasons. Not only does it give the impression that the Hollywood machine is taking a hard look at itself, digging up the bones in its own backyard, but it also provides instant historical cachet.
In short, Crash is presold as a piece of liberal artistic intervention, and in this way the entertainment industry is paradoxically rewarded for its timidity. By avoiding controversy most of the time, a risk-averse Hollywood can sell its own periodic ‘daring' as a product unto itself, and Crash fits the bill beautifully. It has an air of truth, without ever saying anything truthful.
The plotline of Crash could be described as a riff on Arthur Schnitzler's La Ronde, with racial hatred replacing the sexual coupling. There are two major events around which most other occurrences in the film circulate—the murder of Peter (Larenz Tate), a young African-American criminal, and the titular car crash in which Christine (Thandie Newton) overturns in her SUV. Sgt. Ryan (Matt Dillon), the racist cop who sexually molested her during a traffic stop the previous night, is the officer on the scene who pulls her from the burning car. Throughout the film, characters encounter and reencounter one another in highly convenient ways. For example, Peter's brother Graham (Don Cheadle), an LAPD detective, discovers Peter's dead body in the desert. Prior to learning of his brother's death, Graham is strong-armed by the D.A.'s office into suppressing evidence that may partially exonerate a white police officer charged with killing a black cop. The D.A. (Brendan Fraser) is looking for a conviction that would help endear him to the black community, since he is trying to manage a potential media scandal. He and his wife (Sandra Bullock) were carjacked in Sherman Oaks by two young black men—none other than Peter and his friend Anthony.
In addition to the dominant cultural assumptions already mentioned (almost by definition, a movie addressing racism equals ‘gritty reality'), I think there are some basic ways in which a film like Crash coincides—both formally and politically—with certain desirable images liberal America has of itself. One comes away from Crash with a very liberal, localized understanding of how racism works. You see, everybody's a little bit racist, and you never know when you'll find yourself in a situation when and where your racist nature will emerge. Or, as Sgt. Ryan says to Officer Hanson upon the dissolution of their partnership, “You think you know who you are. You have no idea.”
The dominant illusion that Crash's form attempts to convey about its own narrative is that each character does something virtuous in one situation, and something unconscionably racist in another. But this isn't true. Some characters are exemplars of pure good. Latino locksmith Daniel (Michael Pena) exists solely to incur racist threats and insults from other characters, then to belie their opinions through his role as the most upstanding of family men.
Crash's form also gives the impression that everyone gets equal time in a sort of round-robin of racism, but again, this isn't true. Haggis devotes negligible screen time to most of his female characters (Christine is something of an exception), subtly sending the message that the racism we need to worry about is a man's affair. Graham's partner / lover Ria (Jennifer Esposito) is afforded no fully-developed characterization, but is subject to one of the film's cruelest racial slur / laugh lines. HMO bureaucrat Shaniqua Johnson (Loretta Devine) is similarly placed—a cipher and a target for bigoted macho taunts. Likewise, not all races are given equal time in Crash. While Daniel is the main focus of the third, smaller circle of interactions, paired with an angry Iranian shopkeeper (Shaun Toub) who blames him for the vandalism of his store, Latinos and Persians are generally relegated to afterthought status in this narrative thread. Or worse, their less-than-integrated narrative function bespeaks a racial-quota, show-of-hands presence that falls prey to the worst bean-counting tendencies of identity politics. The simplistic rendering of these characters (Daniel as the vato with the heart of gold, Farhad the shop-owner as misplaced, impotent rage) only underscores this impression.
If the characters in Crash were real people, in the real world instead of Haggis's cordoned-off fantasy L.A., we'd see that they are not equal. Especially in the present atmosphere of backlash against so-called ‘political correctness'—an atmosphere Crash exploits to the fullest—people often get huffy when a person of color points out the difference between racism and prejudice, like it's mere sophistry or special pleading. But it's true—only white people in America are able to systematically reproduce the world in accordance with their own racial biases.
Thesis
In my indpendent study my aim is to prove that there are stereotypes within Crash, in particular focusing on African Americans. In addition to showing how common racism is within society and Crash and its effects on chaacters.
Racism carries connotations of race-based bigotry, prejudice, violence, oppression, stereotyping or discrimination,
Racism is common within society and in Crash, racism affects different characters in different ways... E.g. Anthony is constantly paranoid about racism however his friend Peter humourously mocks him and does'nt seem to be too worried about racism. Racism is a common topic usually avoided by american directers and Americans in general. It's usually avoided due to the fact that American directors may not want to offend ethinc minorites if they portrayed in a negative light or they are misrepresented.
I could also look at the difference between racism and prejudice, as people often think it is the same.
Racism is when abuse is made towards a person’s race, usually involving the idea that one’s own race is superior and has the right to rule others.
Whereas Prejudice is unreasonable feelings, opinions or attitudes especially of a hostile nature regarding a racial, religious or national origin which can often be based on social stereotypes.
Racism carries connotations of race-based bigotry, prejudice, violence, oppression, stereotyping or discrimination,
Racism is common within society and in Crash, racism affects different characters in different ways... E.g. Anthony is constantly paranoid about racism however his friend Peter humourously mocks him and does'nt seem to be too worried about racism. Racism is a common topic usually avoided by american directers and Americans in general. It's usually avoided due to the fact that American directors may not want to offend ethinc minorites if they portrayed in a negative light or they are misrepresented.
I could also look at the difference between racism and prejudice, as people often think it is the same.
Racism is when abuse is made towards a person’s race, usually involving the idea that one’s own race is superior and has the right to rule others.
Whereas Prejudice is unreasonable feelings, opinions or attitudes especially of a hostile nature regarding a racial, religious or national origin which can often be based on social stereotypes.
Thursday, September 13, 2007
LionsGate
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LionsGate Entertainment is a Canadian entertainment corporation. In 2007 Lions Gate was the most commercially successful independent film and television distribution company in the United States.
LionsGate is divided into five divisions:
- Film: Lionsgate Films
- Music: Lionsgate Records
- Television: Lionsgate Television and Debmar-Mercury
- Television: Lionsgate Television and Debmar-Mercury
- Studios: Lionsgate Studios
- Video: Lionsgate Home entertainment and Family Home Entertainment
- Video: Lionsgate Home entertainment and Family Home Entertainment
LionsGate Films is a production - distribution company and one of the largest independent film distributors in North America. Though they focus mainly on foreign and independent films, LionsGate is also known for distributing controversial films like Fahrenheit 9/11 and American Psycho, which began a trend of producing and distributing films which were far to controversial for major American studios.
Lionsgate rarely co - produces films with major studios. E.g. was a silent partner in 20th Century Fox's sci - fi film The Day After Tomorrow. In 2004 Lionsgate joined forced with rival United Artists in producing Hotel Rwanda.
Crash was the studio's first film to recieve the Academy Award for Best Picture.
Lionsgate does not finance many films which they release instead, they either co-produce films with producing partners or acquire rights to the film at festivals, as was the case with Saw, Cabin Fever, and Open Water.
Lionsgate has also produced award winning film Monsters Ball, Saw, Hostel amongst others.
Lionsgate studios film productions include: Final Destination 3, White Chicks, Scary Movie 3 and 4
Tuesday, September 11, 2007
Main protagonists in Crash
Crash has an all star cast, who are all from different ethnic minorities however they are all prejudiced in some way. The director tries to convey their prejudice by showing the different situations they are involved in and how they are treated. As an audience we also understand why they are treated differently…mostly because of the colour of their skin or the way the characters present themselves. I.e. a Mexican locksmith is not trusted by an attorney’s wife because of his appearance – shaven head and tattoos…but in reality he is a family man who is not involved in criminal activities.
Larenz Tate plays Peter Waters
Peter Waters is Anthony's friend and partner in crime. Like Anthony, he is black, but he humorously mocks at Anthony's paranoia over racism. The only character killed throughout all of the film's near-tragedies, Peter is shot to death by Officer Hansen, who picks him up in the valley hours after their failed carjacking of Cameron's SUV and mistakenly shoots him after assuming he is drawing a gun, when in reality he is reaching into his pocket to show the cop a figure of Saint Christopher. The irony of the situation is that Peter and Officer Hansen are portrayed as those characters least suspected of racism and stereotypes up to that point.
Terrence Howard plays Cameron Thayer
Cameron Thayer is a black television director who becomes distraught after witnessing Officer Ryan molesting his wife and realizing that the very show he produces is propagating racist stereotypes about black people. In an emotional moment, he fights off Anthony and Peter when they try to steal his car, takes away Anthony's gun, and gets himself into a harsh argument with armed white police officers. Just when it is very likely that he will be shot to death, Officer Hansen intervenes on his behalf and prevents any outbreak of violence.
Thandie Newton plays Christine Thayer
Christine Thayer is Cameron's wife. She is molested by Officer Ryan after she and Cameron are pulled over. She becomes furious with her husband because he does not act to defend her. The two insult each other over their upbringings as both Cameron and Christine have grown up in a more privileged environment than other African Americans. The next day she is trapped in an overturned car due to a highway accident and, by an exquisite twist of fate, Officer Ryan is the man who willingly endangers himself to save her life.
Matt Dillon plays Officer John Ryan
Officer John Ryan is a bigoted* white police officer who physically molests Christine Thayer, a black woman, during a traffic stop. This causes his partner, Officer Hansen, to believe his partner has racist tendencies. Ryan later works with a newly-assigned, Hispanic - American whom he seems to get along with but mockingly asks "ready to roll, homie". Ryan later puts his own life on the line to save Christine from certain death in a fiery car wreck, which is unexpected because he is considered among the film's most prejudiced characters.
Ryan Phillippe plays Officer Tom Hansen
Sandra Bullock plays Jean Cabot
Jean Cabot is Rick's wife, whose racial prejudices escalate after the carjacking. At the end of the film, following an accident in her home, she realizes that the person who is the nicest and most helpful to her is Maria, her Hispanic maid, while her snobby friends are too busy with shallow pursuits (such as getting a massage) to help her out.
Jean Cabot is Rick's wife, whose racial prejudices escalate after the carjacking. At the end of the film, following an accident in her home, she realizes that the person who is the nicest and most helpful to her is Maria, her Hispanic maid, while her snobby friends are too busy with shallow pursuits (such as getting a massage) to help her out.
Brendan Fraser plays Rick Cabot
Rick Cabot is the white District Attorney of L.A. He and his wife Jean are carjacked by Anthony and Peter, both of whom are black. Subsequently, the Brentwood resident tries to save his political career by reassuring voters that he is racially sensitive (as he is a Democrat and African Americans and Hispanics are his key constituents). His character is never depicted as a bigot*, which makes his racial stance ambiguous.
Chris "Ludacris" Bridges plays Anthony
Anthony is an African-American inner-city car thief who steals vehicles for a bigoted* chop shop owner. He believes that society is unfairly biased against blacks, and at one point in the film he justifies his actions by saying he would never hurt another black person. Yet, after he and Peter try to carjack a car driven by a black man Cameron, and when Cameron attacks Anthony during the carjacking, Anthony's response is to call on Peter to shoot Cameron. After the carjacking produces a tense standoff that is barely resolved, a disgusted Cameron kicks Anthony out of his car and says "You embarrass me. You embarrass yourself." Anthony steals a van full of illegal immigrants from South East Asia towards the end of the movie. Anthony frequently refers to these immigrants as chinamen and upon learning that the owner of the chop shop that buys the stolen vehicles intends to sell them off as slaves; he releases all of them out onto the streets of LA in the closing scenes of the movie. Anthony then gives them all of the money that was in his pocket, $40
Larenz Tate plays Peter Waters
Peter Waters is Anthony's friend and partner in crime. Like Anthony, he is black, but he humorously mocks at Anthony's paranoia over racism. The only character killed throughout all of the film's near-tragedies, Peter is shot to death by Officer Hansen, who picks him up in the valley hours after their failed carjacking of Cameron's SUV and mistakenly shoots him after assuming he is drawing a gun, when in reality he is reaching into his pocket to show the cop a figure of Saint Christopher. The irony of the situation is that Peter and Officer Hansen are portrayed as those characters least suspected of racism and stereotypes up to that point.
Terrence Howard plays Cameron ThayerCameron Thayer is a black television director who becomes distraught after witnessing Officer Ryan molesting his wife and realizing that the very show he produces is propagating racist stereotypes about black people. In an emotional moment, he fights off Anthony and Peter when they try to steal his car, takes away Anthony's gun, and gets himself into a harsh argument with armed white police officers. Just when it is very likely that he will be shot to death, Officer Hansen intervenes on his behalf and prevents any outbreak of violence.
Thandie Newton plays Christine Thayer
Christine Thayer is Cameron's wife. She is molested by Officer Ryan after she and Cameron are pulled over. She becomes furious with her husband because he does not act to defend her. The two insult each other over their upbringings as both Cameron and Christine have grown up in a more privileged environment than other African Americans. The next day she is trapped in an overturned car due to a highway accident and, by an exquisite twist of fate, Officer Ryan is the man who willingly endangers himself to save her life.
Matt Dillon plays Officer John Ryan
Officer John Ryan is a bigoted* white police officer who physically molests Christine Thayer, a black woman, during a traffic stop. This causes his partner, Officer Hansen, to believe his partner has racist tendencies. Ryan later works with a newly-assigned, Hispanic - American whom he seems to get along with but mockingly asks "ready to roll, homie". Ryan later puts his own life on the line to save Christine from certain death in a fiery car wreck, which is unexpected because he is considered among the film's most prejudiced characters.
Officer Tom Hansen is Officer Ryan's partner who is disgusted by his partner's racism and the city's inaction. Remembering Cameron as the husband of Christine, Hansen saves Cameron during his confrontation with the police. However, he later picks up a hitchhiker who turns out to be Peter. They engage in a racially tense conversation, and when Peter reaches for what Hansen suspects is a weapon, Hansen draws his gun and shoots Peter. Hansen dumps the body and burns his car in an attempt to hide evidence. This is one of the most surprising developments in the film, as Officer Hansen begins as one of the least bigoted*, most righteous characters.
*Bigoted =a prejudiced person who is intolerant of opinions, lifestyles, or identities differing from his or her own
Quotes from Crash
Jean Cabot: Oh really? And he's not gonna go sell our key to one of his gang banger friends the moment he's out our door?
This is when Jean reveals her racial insecurities after having being car jacked by two black males
Anthony: Look around you! You couldn't find a whiter, safer or better lit part of this city. But this white woman sees two black guys, who look like UCLA students, strolling down the sidewalk and her reaction is blind fear. I mean, look at us, dog! Are we dressed like gang bangers? Huh? No. Do we look threatening? No. Fact, if anybody should be scared, it's us: we're the only two black faces surrounded by a sea of over-caffeinated white people, patrolled by the trigger happy LAPD. So, you tell me, why aren't we scared?
This is when Jean reveals her racial insecurities after having being car jacked by two black males
Anthony: Look around you! You couldn't find a whiter, safer or better lit part of this city. But this white woman sees two black guys, who look like UCLA students, strolling down the sidewalk and her reaction is blind fear. I mean, look at us, dog! Are we dressed like gang bangers? Huh? No. Do we look threatening? No. Fact, if anybody should be scared, it's us: we're the only two black faces surrounded by a sea of over-caffeinated white people, patrolled by the trigger happy LAPD. So, you tell me, why aren't we scared?
Monday, September 10, 2007
M - Crash represents different people’s attitude towards different cultures. Many characters appear to be prejudiced against another race. Mise en scene is used in each storyline to create an abrupt visual break when cutting between characters and arcs* Crash uses a variety of shots, Long shots and point of view shots, the camera often pans when moving from one scene to another. Blurred shots are also used, where the camera focuses on the object a while later. The film uses parallel music – instrumentals. Most characters dress in accordance to the way they are presented. I.e. Rick (district attorney) and his wife Jean dress smartly due to the fact that Rick is a politician and needs to have a good appearance as does his wife. Anthony and Peter who steal cars for their boss dress in casual clothes as they are represented as youths
I - Lions Gate Entertainment, directed by Paul Haggis
G - Crash belongs to the crime/drama genre, as the film uses multiple story lines which include a car jacking, murder, car crash. However Crash also has Sub Genres which include: Crime,political,gangs, Racism and revenge.
R - Representations of the cast are mixed as they all come from different backgrounds and minorities. Some characters appear to be wealthier than others i.e. the District Attorney and his wife
A - 18 +Liberal minded audience both male and female, as this film deals with the racial tensions and issues within a contemporary society. However the director may also want to educate people about racism in America, as in some part of America racism is common. Also the director aims to show us how people respond to racist slur.
I – can be seen as patriarchal, but there is also role reversal. Where sometimes the female is taking the lead. E.g. when being molested by a white cop Christine’s (Thandie Newton) husband fails to defend her. Also a feminist ideology is shown as Christine appears to be the more dominant and stronger person in the relationship. Also a heterosexual ideology is shown as there are relationships between characters. Another ideology that is presented is the political ideology - as throughout out the film Rick(district attorney) worries about his political career i.e. when him and his wife are carjacked by two black men he worries about how this incident will affect his career
N – Use of binary oppositions (Levi Strauss), black and white, victim and aggressor.In addition to Strauss, Propp can also be applied to Crash. The villain would be Officer John Ryan as he molested a black woman during a routine stop that can later be seen as a hero as he saves her from a car crash
The helper would be Officer Tom Hansen as he helps to stop a confrontation that could have got some one killed.
By assigning ‘character roles’ the audience is able to understand why this character is prejudiced and their affect on other characters
*arcs – story arcs and characters intersect indirectly and subtly. Events in one story arc affect other story lines or characters
Crash also uses Hyperlink Cinema – this is a film style of using multiple interconnected storylines
I - Lions Gate Entertainment, directed by Paul Haggis
G - Crash belongs to the crime/drama genre, as the film uses multiple story lines which include a car jacking, murder, car crash. However Crash also has Sub Genres which include: Crime,political,gangs, Racism and revenge.
R - Representations of the cast are mixed as they all come from different backgrounds and minorities. Some characters appear to be wealthier than others i.e. the District Attorney and his wife
A - 18 +Liberal minded audience both male and female, as this film deals with the racial tensions and issues within a contemporary society. However the director may also want to educate people about racism in America, as in some part of America racism is common. Also the director aims to show us how people respond to racist slur.
I – can be seen as patriarchal, but there is also role reversal. Where sometimes the female is taking the lead. E.g. when being molested by a white cop Christine’s (Thandie Newton) husband fails to defend her. Also a feminist ideology is shown as Christine appears to be the more dominant and stronger person in the relationship. Also a heterosexual ideology is shown as there are relationships between characters. Another ideology that is presented is the political ideology - as throughout out the film Rick(district attorney) worries about his political career i.e. when him and his wife are carjacked by two black men he worries about how this incident will affect his career
N – Use of binary oppositions (Levi Strauss), black and white, victim and aggressor.In addition to Strauss, Propp can also be applied to Crash. The villain would be Officer John Ryan as he molested a black woman during a routine stop that can later be seen as a hero as he saves her from a car crash
The helper would be Officer Tom Hansen as he helps to stop a confrontation that could have got some one killed.
By assigning ‘character roles’ the audience is able to understand why this character is prejudiced and their affect on other characters
*arcs – story arcs and characters intersect indirectly and subtly. Events in one story arc affect other story lines or characters
Crash also uses Hyperlink Cinema – this is a film style of using multiple interconnected storylines
Saturday, September 8, 2007
Crash
Film: Crash (2004)
Urban drama which takes a look at the complexities of racial tolerance in contemporary America. Crash looks at how the multi ethnic cast struggle to come to terms with their fears as they careen in and out of one another’s lives
Possible areas that I could cover:
1. Looking at how different minorities are represented – both men and women
- Link to society and how some concepts are still the same
3. How accurately issues in the film are represented
4. Looking at social/ racial tensions and issues
I could also link the film to ‘Boys N the Hood’ which uses the quote – "1 in 21 African American males will die of murder in their lifetime"
This was proved to be true in Crash
Urban drama which takes a look at the complexities of racial tolerance in contemporary America. Crash looks at how the multi ethnic cast struggle to come to terms with their fears as they careen in and out of one another’s lives
Possible areas that I could cover:
1. Looking at how different minorities are represented – both men and women
- Link to society and how some concepts are still the same
3. How accurately issues in the film are represented
4. Looking at social/ racial tensions and issues
I could also link the film to ‘Boys N the Hood’ which uses the quote – "1 in 21 African American males will die of murder in their lifetime"
This was proved to be true in Crash
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