By Harry M. Benshoff, Sean Griffin

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

  • Provides a finished evaluate of the economic, socio-cultural, and aesthetic components that give a contribution to cinematic representations of race, type, gender, and sexuality
  • Includes over a hundred illustrations, thesaurus of keyword phrases, questions for dialogue, and lists for additional reading/viewing
  • Includes new case reports of a few movies, together with Crash, Brokeback Mountain, and Quinceañera

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Extra resources for America on Film: Representing Race, Class, Gender, and Sexuality at the Movies, Second Edition

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129: Anna May Wong, unidentified publicity photo, authors’ personal collection p. 130: Keye Luke, unidentified publicity photo, authors’ personal collection p. 135: Russell Wong, unidentified publicity photo, authors’ personal collection p. 137: Ang Lee directingSense and Sensibility, copyright © 1995, Columbia p. 139: Mississippi Masala, dir, Mira Nair, copyright © 1991, The Samuel Goldwyn Company p. 141: Eat a Bowl of Tea, copyright © 1990, Columbia p. 146: Ramon Novarro, unidentified publicity photo, authors’ personal collection p.

Discussing how various types of people are represented in American cinema, then, requires more than analyzing only the stories and the characters. For example, let's imagine a film about both a white man and a Native American man. The story alternates between the two characters, showing their daily activities: getting up, eating, interacting with their family and friends, working, and then going to sleep. There would seem to be nothing necessarily biased or prejudiced according to this description of the film's content.

252: Gold Diggers of 1933, copyright © 1933, Warner Bros. p. 261: John Wayne, unidentified publicity photo, authors’ personal collection p. 263: The Son of the Sheik, copyright © 1922, Paramount p. 265: Public Enemy, copyright © 1931, Warner Bros. p. 267: I Was a Male War Bride, copyright © 1949, 20th Century-Fox p. 268: Sands of Iwo Jima, copyright © 1949, Republic p. 270: Double Indemnity, copyright © 1944, Paramount p. 271: T-Men, copyright © 1947, Eagle-Lion p. 273: Dead Reckoning, copyright © 1947, Columbia p.

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