America on Film: Representing Race, Class, Gender, and by Harry M. Benshoff, Sean Griffin

By Harry M. Benshoff, Sean Griffin

America on movie: Representing Race, classification, Gender, and Sexuality within the video clips, 2d Edition is a full of life creation to problems with range as represented in the American cinema.

  • Provides a accomplished review of the commercial, socio-cultural, and aesthetic elements that give a contribution to cinematic representations of race, type, gender, and sexuality
  • Includes over a hundred illustrations, thesaurus of keywords, questions for dialogue, and lists for additional reading/viewing
  • Includes new case stories of a few movies, together with Crash, Brokeback Mountain, and Quinceañera

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Subcultures can have their effect on the dominant culture by contributing to the active hegemonic negotiation of dominant ideology, but usually this only happens to the extent that a subculture's concerns can be adapted to the needs of the dominant ruling interests. For example, hip-hop and rap music styles have crossed over into mainstream popular music – but in an altered (and some might say watered-down) version. This is broadly called commodification (turning something into a product for sale) and more specifically incorporation (the stripping of an ideology or cultural artifact's more “dangerous” or critical meanings so that the watered-down artifact can be sold to mainstream culture).

Motion pictures-United States-History. I. Griffin, Sean. II. Title. 5’6-dc22 2008021455 ACKNOWLEDGMENTS The origins of this book can be traced back to a class we both taught at Antelope Valley Community College in Lancaster, California, when we were PhD students at the University of Southern California’s School of Cinema-Television. We “inherited” the class from Jaime Bihlmeyer when he took another position. Jaime had created his own set of readings for the course, because, as we quickly discovered, there were very few published texts available that covered “diversity in American film” with the historical and theoretical consistency that we desired.

86: Pinky, copyright © 1949, 20th Century-Fox p. 87: Dorothy Dandridge, unidentified publicity photo, authors’ personal collection p. 88: Sidney Poitier, unidentified publicity photo, authors’ personal collection p. 93: Get On the Bus, dir. Spike Lee, copyright © 1996, Columbia/Tri-Star. Photo: Lester Sloan p. 96: Hustle & Flow, dir. Craig Brewer, copyright © 2005, MTV Films/Paramount Classics p. 98: Bamboozled, dir. Spike Lee, copyright © 2000, New Line Cinema. Photo: David Lee/New Line p. 109: The Lone Ranger, copyright © 1949-1957, ABC-TV p.

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