(PDF) Film Analysis: "When They See Us" | Megan Milo
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keyboard_arrow_downTitleAbstractAll TopicsArtFilm and Media StudiesDownload Free PDF
Download Free PDFFilm Analysis: "When They See Us"
Megan Milo2020
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An analysis of the Netflix series, "When They See Us", by Ava DuVernay and the racial biases in police activities, the reevaluation needed in interrogation processes, and the blasphemous involvement from former president, Donald Trump, in the Central Park Five court case.
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Since the 1950s, the institutional police series have been among the most popular productions on US television. Through the reiteration of the "us versus them" mentality, police officers are fictionalized as normative agents who uphold "goodness", while crime is portrayed as a moral and individual flaw of the criminal. Not only do these productions recurrently ignore systemic problems in US society, which are used to explain crime in the real world, but they also reinforce the authority of the institution as the force capable of maintaining the status quo. From the perspective that these series act in the construction and mediation of meaning about the role played by real-world police institutions and their members in society, we structure the text around two main arguments: (a) TV series reinforce the police institution's authority, treating its actions as unquestionable and, most importantly, allowing real-world institutions to interfere in their fictionalization processes; (b) TV series normalize police brutality, with narratives often justifying violent acts as an efficient investigative tool, illustrating norms and bureaucracies as major impediments to the police officer's work. By framing ethical and human rights violations as efficient and necessary acts, these series contribute to normalizing some of the dirtiest aspects of the profession.
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downloadDownload free PDFView PDFchevron_rightViolation of justice in American police department as reflected in the film Changelingdyah nurullitaCOMMICAST
This undergraduate thesis describe justice theory and propaganda theory. This is aiming at analyzing violation of justice and propaganda police towards the main character and society in American. This undergraduate thesis has two main objectives to portray the violation of justice and the police propaganda in America as reflected in the Changeling film. This research uses descriptive qualitative method. There are two types of data in this study, they are primary and secondary data. The primary data is taken from the film Changeling and secondary data are taken from books, articles, journals, and data from network sources. In this research the, writer uses an interdisciplinary study. In conducting the analysis, researchers used the theory of justice and propaganda theory. To analyze this topic, the researcher uses John Rawls's theory of justice, which is actually contradict with what happens in this film. Then the researchers used propaganda theory from Jowett and O'Donnell, ...
downloadDownload free PDFView PDFchevron_rightCultivating Police Use of Force Perceptions through Cinema: Maintaining the Racial DivideAshley G. Blackburn, Franklin T . WilsonCriminology, Criminal Justice, Law & Society, 2019
This study draws on Robert E. Park's writings regarding the impact of cinema on acculturation and James Baldwin's extensive reflections on the role of entertainment media in promoting the racial divide in the United States. Public opinion studies following the Trayvon Martin case and others reveal a racial divide regarding decisions to not charge or acquit officers. Research has shown that most members of the general public have no personal knowledge of both the criminal justice system and other races. Therefore, opinions are largely dependent on knowledge garnered through the media. Cultivation theory postulates that long-term exposure to specific media messages can result in subjects adopting specific opinions. Before a cultivation effect can be determined, the messages conveyed must be identified. This exploratory first step cultivation theory analysis examines municipal police officer use of force scenes in the first 40 years of the core cop film genre leading up to the killing of Trayvon Martin. A total population of 112 films was systematically identified, and all 468 police use of force scenes contained within the genre served as the units of analysis. Each scene was examined to determine depiction patterns and messages conveyed based on the race of officer. Findings revealed that White officers were overwhelmingly represented in use of force scenes, while minority officer scenes were isolated to specific years and films. Findings also demonstrated a dependence on a White officer's presence when minority officers used force on Whites. The historical origins and role of such depictions in cultivating current public perceptions of use of force are discussed.
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This article seeks to examine the role of the police in African American film. Looking at the last three decades of filmmaking, five films stand out as important examples for this study: Do the Right Thing, Boyz n the Hood, Set it Off, Training Day, and Get Out. These films are both consistent in the message regarding the police and African American communities, and are separated by time to demonstrate the distinct differences in how that message has been shown. An examination of the real-world relationship between the two groups is also studied, to better understand the accuracy of the films. The gendering of film and police brutality is a further discussion within the article in regard to the lack of female African American directors in Hollywood and the less frequently discussed police violence against African American women. These issues are addressed through a combination of film analysis and secondary source data on the police interaction and brutality in the African American ...
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The popular American television series How to Get Away with Murder (2014) seems to challenge the long history of stereotypical roles assigned to racial minorities in American media by choosing a multiracial cast to impersonate characters that, while having different racial backgrounds, share a similar socioeconomic status and have multidimensional personalities that distance them from the common stereotypes. However, although it has been praised for its portrayal of racial diversity, the series operates within a problematic logic of racial colour-blindness, disconnecting the main characters from any sign of racial specificity and creating a fictional world in which racism is no longer part of American society. This case study aims to demonstrate to which extent the " colour-blind approach " of the TV show reinforces the postracial illusion in the United States, i.e. the idea that the country has overcome its past of racial segregation and now offers the same opportunities for everyone, regardless of colour and race. Through a narrative analysis of the first season of the series, this chapter will argue that the depiction of race in How to Get Away with Murder is highly ambivalent. On the one hand, the show does not completely ignore race by inserting topics such as racism in the plot, giving these issues at least some visibility. On the other hand, its more general panorama reveals an intent to deracialise its main characters in a colour-blind manner. This is problematic since it overshadows racial issues that still have a big impact on the lives of racial minorities. ISSN: 2009-4078
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Special Issue Call for Papers (Kim Bobier & Marisa Williamson) https://www.womenandperformance.org/submit/current-cfps As Simone Browne has observed, performances of racializing surveillance “reify boundaries, borders, and bodies along racial lines.” (16) Taking cues from thinkers such as Browne and Donna Haraway, this special issue draws on feminist understandings of sight as partial, situated, and embodied to explore how racial politics have structured practices of oversight. How have technologies of race and vision worked together to monitor modes of being-in-the world? In what ways have bodies performed for and against such governance? With these questions in mind, we propose a methodologically feminist forum at the intersection of critical race theory and surveillance studies. Submissions that center Black feminist thought and/or BlackFems (note 1) are welcome, as are queer studies inquiries that extend Black feminist premises of intersectionality. So are other perspectives. Working against a mastering, monolithic outlook, this publication addresses feminist points of difference and dissensus. (note 2)
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Crime dramas are one of the most popular genres in film and television history. For over 100 years, American audiences have watched depictions of the conflicts that occur between cops and bad guys, and sometimes between cops and cops, or bad guys and bad guys. In the early days of film, the most common role of police officers was that of the bumbling fool who was there to serve as a laughingstock for the audience, and to serve as both a set-up and a punchline for the protagonist. But what happened when people were asked to take onscreen police officers more seriously? And what happens when lines between worlds fictionalized and real begin to blur? This research explores the evolution of the police drama from the series that invented the genre in the 1950s to the one that deconstructed and revolutionized it in the 21st century, and it particularly looks at the roles that race and racism played in the changing nature of this genre. It examines how African Americans are represented in crime dramas and looks at the way that these television shows replicate or challenge stereotypes that suffuse American media and popular culture. Sometimes the shows acted as a mirror to reflect the broad national view. At others, they were intended to serve as a gadfly to instigate change. Type
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Tag » When They See Us Cinematography
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How Ava DuVernay Made 'When They See Us' - Vulture
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When They See Us - Wikipedia
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Spencer Averick Looks At Editing 'When They See Us' - Variety
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'When They See Us' Review - The Hollywood Reporter
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When They See Us Movie Review (2019) | Roger Ebert
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When They See Us (TV Mini Series 2019) - IMDb
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Bradford Young - When They See Us (Cinematography) - Somesuch
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'When They See Us' Transforms Its Victims Into Heroes