Answer These 9 Questions Using All The Materials I Posed

Answer These 9 Questions Using All The Materials I Posed Each Answer

Answer these 9 questions using all the materials I posed, each answer should have around 150 words (total around 4 pages). These are discuss questions, so please use words like: I think, in my opinion... Double space, Times New Roman, 12. Due 9.25th, please give me before 9.25th noon.

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1. Snowpiercer: Class critique, capitalism, and environmental collapse

In my opinion, Snowpiercer offers a profound critique of capitalism and class hierarchies. The film portrays a highly stratified society with stark divisions between the oppressed rear cars and the privileged front. The simplistic depiction of class struggles may seem obvious, but it effectively exposes systemic inequalities. I think the film goes far enough in illustrating how capitalism perpetuates exploitation and social stratification, yet it leaves some areas unexplored—such as the potential for systemic change. The link between capitalism and environmental collapse is quite evident in the film; the climate disaster resulted from unchecked industrial greed. The train symbolizes a closed system where resource depletion and inequality are interconnected. I believe this critique aligns with Storey's ideas about popular culture reflecting everyday life, revealing hidden societal tensions, and critiquing dominant ideologies. Snowpiercer's environmental commentary underscores how capitalism contributes to ecological destruction, a relationship the film articulates convincingly.

2. Scream: Self-reflexivity, genre conventions, and class representation

In my opinion, Scream effectively exemplifies the self-reflective stage of horror, using its party scene to critique genre conventions while engaging viewers in meta-commentary. I think the film works because it balances humor and horror, making fun of clichés while still delivering scares. However, I believe some problems of the horror genre persist, such as reliance on stereotypes. The film employs conventions like the masked killer and final girl to tell its story, but it also subverts these tropes, highlighting genre self-awareness. Class is subtly represented through characters’ stereotypes and social backgrounds, reflecting broader societal divisions. Similarly, Isn’t It Romantic navigates genre awareness by parodying romantic comedy tropes while adhering to some conventions; it critiques and preserves genre elements simultaneously. Class dynamics are depicted through characters’ aspirations and social aspirations, adding depth to the narrative and critique of romantic clichés.

3. Norma Rae: Revealing and concealing class, race, and gender in America

In my opinion, Norma Rae exposes the intertwined struggles of class, race, and gender but also conceals some complexities. The film portrays the working-class environment and highlights the exploitation of labor, revealing the economic and social tensions of the era. It emphasizes the importance of collective action against corporate power, aligning with Storey’s discussion of popular culture reflecting working-class struggles. The film also addresses gender roles and race, though at times it simplifies these issues for narrative clarity. I think cinema is a compelling way to convey history because it personalizes experiences and evokes emotional responses. As a student of history, I do use films as sources, but I recognize their limitations—films often dramatize or omit aspects for storytelling. Nonetheless, they can inspire further research, making history more accessible and engaging.

4. Land and Freedom: Class relations and historical insights into the Spanish Civil War

In my opinion, Land and Freedom offers a nuanced depiction of class relations and political struggles during the Spanish Civil War. The film emphasizes the tensions between anarchist collectivists and authoritarian factions, providing insight into revolutionary dynamics. Before watching, I had limited knowledge of the war, but the film piqued my interest by vividly illustrating the fighting and ideological conflicts. It gave me a deeper understanding of how class and politics intersected in this conflict, highlighting the importance of grassroots movements. I think the film effectively stimulates curiosity about the historical event, encouraging me to research further. Its depiction of class struggle, both in terms of land rights and political ideology, offered an enriching perspective that deepened my appreciation of this complex historical episode.

5. Pretty Woman: Genre conventions and modern romantic comedies

In my opinion, Pretty Woman exemplifies classic romantic comedy tropes—meet-cute, transformation, and happy ending—yet it also navigates its self-awareness by parodying and reinforcing these conventions. The film's charm lies in its use of familiar narrative devices while presenting them with a fresh perspective. I think what worked well were the charismatic performances and the emotional resonance, though I found some stereotypes and commercial trappings problematic. Regarding class, the film subtly depicts economic disparities: Vivian’s working-class background contrasted with Edward’s wealth. It navigates genre self-awareness by balancing genuine romantic moments with playful parodies of clichés. Compared to recent rom-coms, I think Pretty Woman aligns with traditional narratives but has become iconic for its blend of sincerity and self-parody, offering insights into class and gender roles within a comedic framework.

6. Indigenous representation in film: Reel Injun and Blood Quantum

In my opinion, Blood Quantum addresses both entertainment and critique by depicting Indigenous resilience amid colonial tensions. The film illustrates how colonial histories and neo-colonial structures perpetuate societal tensions, exposing underlying colonial legacies. I think it does a good job of illustrating societal tensions rooted in colonialism—such as oppression, marginalization, and cultural survival—particularly through its ending, which leaves viewers pondering ongoing struggles. Before watching, I knew little about Indigenous film in Canada, but the film provoked my interest in learning more about Indigenous histories and representations. It challenges stereotypical portrayals by presenting complex characters and stories rooted in Indigenous perspectives. Overall, I believe Blood Quantum effectively fuses entertainment with social critique, highlighting colonial tensions in contemporary Canada and encouraging further research into Indigenous issues.

7. Jordan Peele’s Get Out: Horror Vérité and critique of liberal racism

In my opinion, Landsberg’s concept of ‘horror vértité’ emphasizes how horror films can function as political statements, and I think it complements Boger’s analysis by framing Get Out’s use of stereotypes as a critique of white liberalism. I believe the film’s blending of horror and social critique exemplifies how horror can reveal societal truths about race and identity. The stereotypes and clichés employed are not mere conventions; they serve to critique racial liberalism’s superficial progressivism—an idea Boger discusses. By using horror as a lens, the film exposes underlying racial tensions and systemic oppression, aligning with the notion that horror can be a powerful tool for political critique. I think these frameworks collectively demonstrate that horror cinema can be more than entertainment—it's a meaningful commentary on societal issues, especially racial dynamics.

8. Sorry to Bother You: Genre-bending and capitalism critique

In my opinion, Sorry to Bother You exemplifies how genre-bending films can challenge existing socio-economic paradigms by blending satire, science fiction, and comedy to critique capitalism. I believe genre fusion allows filmmakers to dramatize societal issues in innovative ways that appeal to diverse audiences, potentially fostering revolutionary thinking. The film’s surreal and exaggerated elements emphasize the absurdity of capitalist exploitation, encouraging viewers to question dominant economic structures. I think such films can contribute to paradigm shifts by providing alternative visions of society, inspiring activism and resistance. Like others, I see genre-bending as a powerful tool in challenging capitalism’s hegemony, fostering critical consciousness and debates about social justice beyond traditional boundaries of film.

9. Documentary film: Power and limitations of confronting oppression

In my opinion, documentary films can be very effective in confronting systems of oppression because they present real stories and evidence that engage viewers emotionally and intellectually. I often watch documentaries because they foster understanding and awareness about social issues. However, I think documentaries face limitations, such as potential bias, frames imposed by filmmakers, and reliance on particular perspectives that may omit voices. The challenge lies in representing complex systems of oppression accurately without oversimplification or exploitation. In my experience, well-crafted documentaries can prompt social change, but viewers must critically evaluate the narratives presented. Overall, I believe documentaries are valuable tools in activism and education, capable of exposing injustices but also requiring careful ethical considerations and rigorous research.

References

• Storey, J. (2009). From Popular Culture to Everyday Life. Routledge.
• Storey, J. (2006). “Popular Culture”. In Meta.
• Puette, W. J. (1992). Through a Jaundiced Eye: How The Media View Organized Labor. ILR Press.
• Paszkiewicz, K., & Rusnak, S. (2019). Revisiting the Final Girl. Postmodern Culture, 28.
• Toplin, R. B. (2009). Norma Rae, in History by Hollywood. University of Illinois Press.
• Cole, S. (Year). Land and Freedom review. The American Historical Review, 101.
• Gledhill, C. (1994). Image and Voice. In D. Carson et al. (Eds.), Multiple Voices in Feminist Film Criticism.
• Greenberg, H. R. (1991). Re-Screwed: Pretty Woman’s Co-opted Feminism. Journal of Popular Film and Television, 19(1).
• Boger, J. (2018). Manipulations of Stereotypes. Graduate Review, 3.
• Landsberg, A. (2018). Horror Vérité. Continuum, 32(5).
• Torchin, L. (2019). Sorry to Bother You. Film Quarterly, 72(4).
• Orvell, M. (1994). Documentary film and the power of interrogation. Film Quarterly, 48.