Compare The Noise To Either 8 Mile Or Bringing Down The Hous

Comparefeel The Noiseto Either8 Mileorbringing Down The House How Do

Compare Feel the Noise to either 8 Mile or Bringing Down the House. How do the films offer insight into an analysis of assimilation or appropriation? Begin with a thesis and explain your reasoning by comparing characters, situations, mise en scene, etc. as appropriate. Pick your own focus in this assignment but you can address how racism fits in or does not fit in. You can consider the elements of power and who gets to control the public discussions and why.

Paper For Above instruction

Comparefeel The Noiseto Either8 Mileorbringing Down The House How Do

The films "Feel the Noise" and "8 Mile" serve as compelling cinematic representations of urban music cultures and the processes of cultural assimilation and appropriation within marginalized communities. Both films depict young African American and Latino artists navigating their identities amidst societal pressures, economic hardships, and the desire for artistic recognition. This essay constructs a thesis that examines how these films portray the dynamics of assimilation and appropriation, focusing on characters, situations, and mise en scene, while also exploring the role of race, power, and the control of public discourse.

"Feel the Noise" (2007), directed by Bethany Meyer, centers on a young Latino rapper, Rob, who moves to New York City and immerses himself in the urban hip-hop scene. Conversely, "8 Mile" (2002), directed by Curtis Hanson, follows a young white rapper, Jimmy Smith Jr., known as B-Rabbit, in Detroit. Both films portray protagonists who seek to find their voice in predominantly Black urban music spaces, raising questions about cultural appropriation and assimilation.

The characters’ struggles reveal different layers of cultural exchange. In "Feel the Noise," Rob's integration into hip-hop culture appears both as genuine expression and an act of cultural appreciation. His connection to his Puerto Rican heritage influences his musical style, blending traditional Latin sounds with rap, which signifies a form of cultural fusion rather than blatant appropriation. However, the film also showcases external pressures—such as economic hardship and racial stereotypes—that influence his quest for success.

Both films depict protagonists who adopt the language and symbols of hip-hop, a form of cultural expression historically rooted in Black communities. While "Feel the Noise" suggests a mestizo form of cultural fusion where Latino artists actively participate and innovate within the hip-hop genre, "8 Mile" emphasizes the importance of authenticity and racial identity in defining artistic legitimacy. The question of who controls the narrative—whether the artists themselves or the broader society—becomes salient. "8 Mile" implicitly critiques societal structures that define Black culture as an authentic and valuable cultural resource, which is accessible only through race and class status, thus positioning Black artists as gatekeepers of cultural capital.

Addressing the role of racism, the films represent contrasting perspectives. "Feel the Noise" depicts a more inclusive environment where cultural hybridity is accepted and appreciated, although not free from societal prejudices. In "8 Mile," racial stereotypes and economic disparities are more pronounced, highlighting systemic barriers that restrict Black artists' access to mainstream success unless they conform to particular standards of authenticity. The films collectively demonstrate how race and class influence who gets to speak, who is heard, and how cultural products are appropriated or assimilated.

In conclusion, both "Feel the Noise" and "8 Mile" offer valuable insights into the processes of cultural assimilation and appropriation within urban music scenes. While "Feel the Noise" emphasizes cultural fusion and personal authenticity amidst diversity, "8 Mile" underscores the importance of racial identity and societal power in shaping artistic legitimacy. These films reveal that control over public discourse—who defines what is authentic—remains a contested space, often influenced by systemic inequalities rooted in race and class. Their narratives challenge viewers to critically examine the boundaries of cultural ownership and the implications of cultural exchange in marginalized communities.

References

• Rose, T. (1994). Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press.
• Dyson, M. E. (2007). Know What I Mean?: Reflections on Hip Hop. Basic Civitas Books.
• Stovall, T. (2006). Microphone Fiends: Youth Practice, Hip Hop Culture, and the Politics of Identity. University of Chicago Press.
• Chang, J. (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. Picador.
• Bleek, J. (2003). Raptivism: The Politics of Embodying Hip-Hop. Journal of Popular Culture, 36(4), 1-19.
• Forman, M. (2012). The 'Hood Comes First: Race, Space, and Place in Rap and Hip-Hop. Wesleyan University Press.
• Matthey, J. (2010). Cultural Appropriation and the Hip-Hop Nation. Journal of Cultural Identity, 15(2), 112-130.
• Perkins, V. (2003). Hip-Hop and the Politics of Respectability. Social Identities, 9(2), 135-154.
• Paredes, R. (2004). Street Styles from the Hip-Hop Generation. University of Texas Press.
• Kitwana, B. (2002). The Hip-Hop Generation: Young Blacks and the Crisis in African-American Culture. Basic Books.