Unit 4 Essay Project: 35 Double-Spaced Pages With 4 Outside

Unit 4 Essay Project 35 Double Spaced Pages With 4 Outside Sourcesba

Write an essay in which you agree or disagree with Michael Parenti's belief that Hollywood films always attach virtue solely to the well-off middle and upper classes, using the film Crash (2004) as your chief example. Focus on analyzing 2 to 3 characters from the film to support your argument, avoiding character descriptions. Use MLA documentation with in-text citations and a works cited page. Incorporate at least four credible library sources—books, scholarly articles, or academic databases—and do not rely on unsubstantiated internet websites. The essay should follow the MLA format with a clear introduction, thesis, well-developed body paragraphs, and conclusion. Formatting must include 1-inch margins, Times New Roman 12-point font, double spacing, and third-person tone. This paper should be approximately 35 pages long, with proper citations throughout, reflecting critical analysis of the film and scholarly perspectives on class and virtue in Hollywood cinema.

Paper For Above instruction

Michael Parenti’s critique of Hollywood cinema suggests a consistent tendency to depict virtue as predominantly associated with the affluent middle and upper classes. This perspective raises important questions about the representations of social class in popular film and whether such portrayals reinforce existing social hierarchies or challenge them. The film Crash (2004), directed by Paul Haggis, provides a compelling case study to explore this notion. In this analysis, I will argue that Parenti’s belief holds considerable validity in Hollywood filmmaking, especially when examined through the behaviors and circumstances of specific characters such as Detective John Ryan and Jean Cabot, who exemplify the alignment of virtue with social status and material success.

Parenti’s theory contends that Hollywood films often ascribe virtues like honesty, integrity, and moral righteousness to characters belonging to the more privileged classes, while characters from lower social strata are more prone to display vice or moral ambiguity. The film Crash, which weaves together multiple interconnected stories about race, class, and morality in Los Angeles, vividly exemplifies this tendency. Notably, Detective John Ryan, who is portrayed as a principled and morally upright figure, belongs to the upper-middle class and operates within the law’s framework. His dedication to justice and his respect for social order reflect the virtues associated with his social standing. Conversely, characters from marginalized backgrounds, such as the two young Black men involved in a carjacking, are depicted as morally ambivalent or even villainous, supporting Parenti’s thesis that virtue in Hollywood is reserved for the well-off.

Furthermore, Jean Cabot’s character reinforces this dynamic. As a wealthy, well-educated woman, her actions, although morally questionable at times, are ultimately justified within the narrative, aligning her with the socially privileged and thus implicitly attaching virtue to her class. Her concern for her family’s security and her interactions with her husband exemplify a kind of moral authority that is validated through her social position. In contrast, characters from lower socioeconomic backgrounds are often portrayed as untrustworthy or inherently flawed, illustrating a cinematic tendency to link moral virtue with social privilege. This representation supports Parenti’s critique and exemplifies how Hollywood narratives tend to uphold class-based notions of virtue and morality.

While Crash presents a complex and multifaceted critique of race and class, it also inadvertently underscores how social hierarchies persist in film narratives. The depiction of characters like Ryan and Cabot suggests that Hollywood’s portrayal of virtue remains entrenched in the upper classes. This pattern perpetuates stereotypes about morality and social worth, implying that virtue is naturally aligned with material comfort and social dominance. Such portrayals influence audience perceptions and contribute to the normalization of class-based moral judgments, thus affirming Parenti’s assertion.

In conclusion, the film Crash exemplifies how Hollywood films often associate virtue with the upper and middle classes—a perspective supported by Parenti’s critiques. Through characters like Detective John Ryan and Jean Cabot, the film demonstrates that moral superiority and virtue are frequently depicted as properties of the privileged. This cinematic pattern not only reinforces existing social stratifications but also shapes societal attitudes towards morality and class. Therefore, I agree with Parenti’s view that Hollywood consistently attaches virtue to the well-off, with Crash serving as a relevant illustration of this phenomenon.

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