Reel to Real: Race, Class and Sex at the Movies: 1st (First) Edition

Reel to Real: Race, Class and Sex at the Movies: 1st (First) Edition

Language: English

Pages: 312


Format: PDF / Kindle (mobi) / ePub

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popular work Further Along the Road Less Traveled, psychologist M. Scott Peck contends: “Alcoholics are not any more broken than people who are not alcoholic. We all have our griefs and our terrors, we may not be conscious of them, but we all have them. We are all broken people, but alcoholics can’t hide it anymore, whereas the rest of us can hide behind our masks of composure. We are not able to talk with each other about the things that are most important to us, about the way our hearts are

since first reading it. I have never returned to the book to find out if my memory is accurate. This story delighted me because it reveals quite innocently the extent to which patriarchy invites us all to learn how to “do it for daddy,” and to find ultimate pleasure, satisfaction, and fulfillment in that act of performance and submission. I thought of this story again recently when I was reading USA Today. In the section that brings us the top stories from around doing it for daddy the nation was

Representations of black males that portray them as successful yet happily subordinated to more powerful white females break with the old stereotypes of the lazy darky. The neocolonial black male is reenvisioned to produce a different stereotype: he works hard to be rewarded by the great white father within the existing system. Another fine example of this politics of representation can be seen in the movie Rising Sun (1993), which stars Wesley Snipes and Sean Connery. Snipes’s character is pupil

Movies do not merely offer us the opportunity to reimagine the culture we most intimately know on the screen, they make culture. These essays, conversations, and interviews rigorously and playfully examine what we are seeing, ways we think about what we are seeing, and ways we look at things differently. This work interrogates even as it continually celebrates cinema’s capacity to create new awareness, to transform culture right before our very eyes. 2 GOOD GIRLS LOOK THE OTHER WAY A page in the

that it became a real, lived-in space. That’s really the only way to do it. The other thing, also, in Smoke are the two shots of the Brooklyn trains: one leaving Manhattan going into Brooklyn at the beginning of the film and the other shot of that train snaking through Brooklyn at the end. Those were the only two shots of the environment in the film. Normally in a film you establish the place, you shoot the outside of the house, and then you go inside the house. In Smoke, I consciously stripped away

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