FTV 112: Film and Social Change (Final) – Flashcards

1990. Director Jennie Livingston. - Summary: This documentary focuses on drag queens living in New York City and their "house" culture, which provides a sense of community and support for the flamboyant and often socially shunned performers. Groups from each house compete in elaborate balls that take cues from the world of fashion. Also touching on issues of racism and poverty, the film features interviews with a number of renowned drag queens. - Idea womaness and femininity is personified by whiteness - Challenge notion that being a women is a strictly female process

1968. Director Frederick Wiseman. - Summary: Documentary on Philadelphia's Northeast High School to document a continual clash of teens with administrators who confused learning with discipline. Both facts and social values are transmitted from one generation to another, and such social conditioning is seen in a series of formal and informal encounters between teachers, students, parents, and administrators.

- How does Wiseman motivate editing to effect impression of HS life? - How might context of 1968 be relevant to film? - If the institution oh higher learning fails the students, how do they learn and come to consciousness? - What does the film suggest are the educational institutions in the US? - How does the resolution of the film effect viewers? - What do we learn from the experiences of the HS students? - How does director motivate editing to effect the viewer's impression of HS life? - What evidence of repression do we see? - What are students being trained for? - Are the school's ideologies parallel to the Nation's? - Are documentary films valid as the press/surveillance?

1971. Director Haile Gerima. - Summary: In the midst of the Black consciousness movement, a basketball player imagines his profession to that of a gladiator. After a series of reflections including his upbringing as a foster child of White Americans, he returns to his origins. - Avant gard filmmaking, symbols are more important

- What point is Gerima making about college? - What are symbols used to make point? Avant Gard = Noose, panning shots that blue American glad colors, black and white vs. color - How does the resolution of the film effect viewers?

- Announces presence and function of apparatus - Focused on unveiling the ideology hidden in dominant visual discourses - Surrealism

1983. Director Euzhan Palcy (black woman director from Martinique). - Summary: In the French colony of Martinique in the 1930s, rambunctious teenager Jose lives in a rundown shack in a small farm village with his doting grandmother, M'Man Tine. While studying diligently at the local school, Jose also learns at the side of wise village elder Medouze, who tells him first-hand of the lives of African slaves. When Jose wins a scholarship to a prestigious high school in the capital, he brings the wisdom of the village with him. - Martinique is postcolonial - Sugar is main product - Jose taught by: 1. Official Educational System (of colonial nature), teachers, church, 2. Oral Tradition (M'man Tine, Mendouze, Carmen) - Mendouze teaches history of resistance, secret knowledge, African origins - Use of light in dark in film (Mendouze's lesson) - Neo-realist techniques (Death of M'man Tine) - Mis-En-Scene - Focalization through Jose

- How does the film reframe Martinique in terms other than post-card view? - From whom does Jose learn the most from? - What relationship does the film posit between education and social change? Colonization and decolonization?

1965. Directors Trevor Greenwood, Robert Dickson and Alan Gorg. - Summary: Shows the disadvantages, frustrations, and hopes of a negro girl (Felicia Bragg) in Watts, Los Angeles, California. Presents her observations about life in a segregated community, expressing some of the hopes and frustrations of the negro population as a whole. - Narrative is editorial/personal "I" - Commentary on education: lacks confidence to go to college, wants to stay in community, compares to white students - Subtle film

- What view does Felicia have of neighborhood? - How does film conceive education and its role in change? - Who narrates the film?

1968. Directors Saul Rouda and David Dobkin. - Summary: Made in collaboration with SF Newsreel, about the 1968-9 student and faculty strike at San Francisco State College. Features scenes of students demonstrating, clashing with riot police on campus and being arrested. Also includes views of riot police beating students and threatening them with drawn revolvers, and of the following giving speeches/press conferences. - Nov. - March. (longest strike at academic institution) - Admission of black students, had a black studies department - Kaleidoscope view (surrealist visual effects) - Not one single narrator, but multiple - 1960s newsreel to build critique of newsreel/media - History of moment non-linear - Philosophy behind movement (dignity and pride for community)

- How does it differ from social problem film? - How do these students choose to represent their movement? -

1974. Director Don Amis. - Summary: (Swahili for Community Freedom School) is the day-in-the-life portrait of an Afrocentric primary learning academy located in South Los Angeles. Focusing on the virtues of the three Rs — Respect, Righteousness and Revolution — the curriculum also teaches the importance of cultural values and self-defense.

- What do students learn at this school? - How does filmmaker position this learning by contrast with what goes on in more conventional schools? - How do documentary techniques differ? - What is stated goal of education?

- French Philosopher who developed Marxist theories - Reconcile Marxism & Structuralism (Methodology that elements of human culture must be understood in relation to large system) - Analyzes the necessary relationship between state and subject (legal/educational, but also psychological) - Power is produced through: Coercive Control/Repressive State Apparatus (like the law or threats) or Consensual Control/Ideological State Apparatus (people voluntarily assimilate into dominant worldview) - State Apparatuses: Repressive = Public Domain, violent, i.e. government, hard power; Ideological = Private Domain, legal system, religion, family, functions by ideology, soft power. - Ideology = Imaginary relationship of individuals to their real conditions of existence, construct peoples' identities, mediator between systems of power and individuals - Interpellation process = individuals recognize themselves as subjects through ideology; an idea is not simply yours alone, but an idea that has been presented/encouraged for you to accept - Thesis 1: Ideology represents the imaginary relationship of individuals to their real conditions of existence - Thesis 2: Ideology has material existence - Participate consensually in construction because it structures our institution - Not specific account of human subjectivity, but of the production and constraints of what is taken as knowledge - Liberal Subject = construction of individual according to Enlightenment that the individual is rational & free-acting - Subject is function of social formations - Subjectivity is intricately interlocked with reproduction by social formation

- Material Historiography (writing of history determined by social class and economic constraints in determining historical outcomes) - Viewed societal structures not as the result of ideas, but as the result of economic forces - Society in 3 Spheres: 1. Economic Base/Infrastructure (modes of production), 2. Political-Legal Structure (laws), 3. Ideological Structure (media, education) - Infrastructure and superstructure are independent

- Shooting the film is the research - High School: parents have same ideals as the school and reflect the overall community's, ideology broken by one student (democracy, obedience) - Refined POV - Certain groups absent from his films - Important to discuss private things in film

-Handling of actors has been an issues in documentary film -Best to leave unrehearsed segments to non actors for authenticity -Overcoming self consciousness is the greatest issue for non actors -Representational Acting ("Naturally" Unaware) vs. Presentational Acting (Staged, Can Alter Behaviors) -Anything can be manipulated in editing room -Authorial voice is controversial -70s revived interviews, 80s wave of experimentation

1932. Director Mervyn LeRoy. - Summary: Jaded World War I veteran James Allen dreams of creating a new life, but those dreams are shattered when he is implicated in a robbery and sentenced to 10 years on a chain gang. The brutal prison conditions compel James to break out and flee to Chicago, where he assumes a new identity and, over time, becomes a successful businessman. His freedom and happiness are threatened, however, when his scheming landlady discovers his secret and threatens to blackmail him. - Pre-Code Cinema - Social Problem film without near resolution

- What criticisms does the film make of the penal system? - Where does the film end? How does this abruptness trouble the social problem film formula?

1987. Directors Renee Tajima-Peña - Summary: Vincent Chin, a successful engineer living out his dream of designing automobiles in Detroit, meets an unexpected and violent end when he is assaulted and killed by two men in the summer of 1982, following an altercation at a bar. Despite their bloody crime, the assailants initially receive lenient sentences due to a plea bargain. The troubling outcome of the case outrages civil rights advocates, who fight for justice and struggle to prove that Chin's attackers had racist motivations. - Yellow Peril (fear alien culture will be over powered by forces of East)

- Who killed Vincent Chin? - Structural forces responsible for his death?

2014. Director Ryan Coogler. - Summary: Though he once spent time in San Quentin, 22-year-old black man Oscar Grant is now trying hard to live a clean life and support his girlfriend and young daughter. Flashbacks reveal the last day in Oscar's life, in which he accompanied his family and friends to San Francisco to watch fireworks on New Year's Eve, and, on the way back home, became swept up in an altercation with police that ended in tragedy. Based on a true story. - Humanize victim - Exposes roots of stereotypes, discrimination and violence - One of the first DIY voids to provoke national attention in would would emerge as the BLM movement - Everyday story - Questions about the power to transform oneself (possibilities of the new year) - Morally easy to get behind a civil rights figure who is innocent

- What techniques does this film use to give a sense of realism? Actual cell phone footage, shot on same platform where the death occurred, circular narrative. - How does narrative begin and end?

- Condition where one category of people are attributed an unequal status in relations to other categories of people. This relationship is perpetuated and reinforced by a confluence of unequal relations in roles, decisions, rights, and opportunities.

1968-1971. Director Henry Hampton - Summary: American television series and 14-hour documentary about the Civil Rights Movement in the United States. Specific Episode: Black activism is increasingly met with a sometimes violent and unethical response from local and federal law enforcement agencies. In Chicago, two Black Panther Party leaders are killed in a pre-dawn raid by police acting on information supplied by an FBI informant. In the wake of President Nixon's call to "law and order," stepped-up arrests push the already poor conditions at New York's Attica State Prison to the limit. A five-day inmate takeover calling the public's attention to the conditions leaves 43 men dead: four killed by inmates, 39 by police. - Most Civil Rights films, have been done by whites who depict black folks as poor. Hampton shows that it was the strength of the blacks that make the Civil Rights Movement happen.

- How does the film link prisons to broader Civil Rights struggles?

- The ideological reproduction of fear of black people is rapidly gravitating toward being grounded in fear of crime - Prison performs transnational capitalism and naturalization of black people as criminals - Actual issue of race has become less acceptable to talk about - Structural Racism = largely ignored, blacks in prisons accepted as result of criminality of blacks, not because of structural racism and thus camouflaging/normalizing problems - Fear is integral part of racism (economic, sexual) - Anything seen as justified when it is in the name of public safety - Gender is considered even less (women are deemed hyper sexual, undomesticated, manless)

- Documentary Impulse - Incorporation of documentation to verify stories for white audiences (preoccupation with facts) - Modern films by African-Americans sit on line between fact and fiction - Realness dimension appear in black films in 20th century - Validity from director's experience; positions of knowledge and authority - Show contemporary urban problems away from sterilized Hollywood realities - Symbols of black history woven into narrative - Gender roles of black community emphasized

1970. Director Hal Ashby. - Summary: As his 30th birthday nears, the aristocratic Elger Winthrop Enders finally decides to leave his parents' home, and he purchases an apartment complex in the slums of New York. The coldhearted Elger plans to boot out the current residents and refashion the crumbling dwelling into a luxurious bachelor pad. But after the spoiled young man befriends locals Francine and Margie, he abandons his plans and instead focuses on charming his lovely neighbors. - Typical and 1970 black-themed Hollywood film to reflect race relations as damaged beyond repair - Interracial production - Capture Park Slope, Brooklyn before gentrification

- What does the film suggest about the potential and perils of neighborhood change? - What is the visual style of the film? - How does Elgar live? Casual, he does not know himself how to live, coming of age narrative - What is the logic behind the jokes? Humor is derived from the awkwardness, film makes much of colonial metaphor, bitterness of the black residents toward landlord, infrapolitical humor, carnivalesque (low is high and high is low) - With whom does Elgar have the closet relationship? - With whom do we identify? - Why do these black women submit to Elgar? - How might we link this film to Orlando (1992)? - How is architecture used to segregate control? Neighborhoods segregate until gentrification occurs - What does the film suggest about the positives and negatives of neighborhood change? Focalize gentrification within Elgar's relationships with Lanie and Mrs. Copee, Elgar's transformation - How does satire affect the film's representation of gentrification? Humor between Mrs. Enders and Marge, tonal shift - How does Brecht's Alienation Effect relate to the film? Use of satire makes audience aware they are watching a film, direct address

- Neighborhood change in which wealthier people arrive in a neighborhood that had previously been inhabited by poorer people - Developers play crucial role in gentrification - Positive = Reduced crime, new investment in property, increased economic activity, hope of renewal - Negative = increased property value leads to increased property taxes, new growth is geared toward new resident , forces longtime residents out, affects racial minorities, links to colonialism

- Mode of expression in film that embraces the absurdity of everyday life - Statements to fight the state - Everyone is equal at carnival - Heterogenous people - Ties to gentrification because these different characters have different races and classes

2015. Director Grace Lee. - Focus on activist Grace Lee Boggs

- While cities like LA/NYC have become global cities, what has happened to Detroit? - How does Boggs challenges the traditional definition of an American Revolutionary? - How does her approach to social change mutant over time? - What is the value of personal narrative in the film?

- History = document based study of the past - Historiography = study of the construction of the past and how different parties have theorized narratives of the past

- Gentrification = continuation of powerful people oppressing marginalized people - Gentrification may actually be appreciated by prior residents, not all negative - Homeowners benefit by escalating prices - Nice stores come - Cleanliness - Commodification of culture (taming neighborhoods, but keeping them exotic enough to attract consumers - fear of losing culture) - Poor neighbors at their worst in 1990s (crack epidemic) - Economy declines -> gentrifies have less money -> must live closer to job as it is cheaper - Socioeconomic composition of one's neighborhood plays a role in determining one's life chances, but that doesn't mean they engage in meaningful social interactions - Concentrated poverty leads to problems - Newcomers don't like engaging with existing residents - Benefits: less crime, more economic growth - Costs: harassment from police and increased surveillance, established residents forced out because of rising taxes

1971. Director Peter Watkins. - Summary: In this fictional documentary, U.S. prisons are at capacity, and President Nixon declares a state of emergency. All new prisoners, most of whom are connected to the antiwar movement, are now given the choice of jail time or spending three days in Punishment Park, where they will be hunted for sport by federal authorities. The prisoners invariably choose the latter option, but learn that, between the desert heat and the brutal police officers, their chances of survival are slim. - Subversive Activities Control Act (est. by HUAC, resulting from Red Scare and Anti-Communism) - Gives control to President who detains those he THINKS will commit acts of espionage - Critique of mass media - Dystopia shot in pseudo-documentary

- How does the film imagine the surveillance state? - How does the film want us to feel about documentary cinema? What kinds of political events is the director referring to? - How does the film want us to feel about documentary cinema? IS it a force for change? - Who are the dissidents and how do they respond to their incarceration?

1979. Director Haile Gerima. - Summary: Story of Dorothy and her husband T.C. He is a discharged Vietnam veteran who thought he would return home to a "hero's welcome." Instead he is falsely arrested and imprisoned for a crime he didn't commit. Her life revolves around the welfare office and a community facing poverty and unemployment. As a result of the film's events, both the main characters become radicalized and Dorothy eventually turns to violence, - Part of the L.A. Rebellion movement of political and experimental black cinema - Politicized version that synthesizes social relationships and theorizes historical and global conditions through storyteller - Non-Western tradition in movie making - Collective/communal experience - Hybrid cinema (multiple story tracks, audio track, drifting narrative style) - Critiques liberal institutions, Hollywood cinéma and visibility

- What scenes are most evocative in demonstrating effects of surveillance? - What political action do character take to cirucumvent the gov't encroachment? - How would you contract approach to Punishment Park? - What happens to liberal forces when they are put to the task of surveillance and control? - How is it a story of a revolution?

2014. Director Laura Poitras. - Summary: After Laura Poitras received encrypted emails from someone with information on the government's massive covert-surveillance programs, she and reporter Glenn Greenwald flew to Hong Kong to meet the sender, who turned out to be Edward Snowden. - Sci-Fi documentary - Filmmaker gets drawn into the story and breaks the 4th Wall

- how does this film work beyond what the 'journalist' can do? - How does the film frame the debate on surveillance? - How does the film make the control society visible - How does the film create a space for ethical reflection

- Where does power reside and operate? Surveillance - Panopticon - Efficiency of power is a constraining force to have; he who is subjected to field of visibility assumes constraints of power - Typical paradigm: dominance and repression, social change comes through agitation

-Inmate will constantly have outline of tower in front of him which he is spied upon and never knows when he is being watched. -Idea of being watched/constant surveillance/ technological pervasiveness - Reproduces workings of power and thus person being watched regulates himself. - Allows for analyzing, ensures automatic functioning of power, bureaucratic

- Old School Urban Control = segregation, redlining - Neoliberal Control = public vs. private police services, video camera survey public, parks only open to residents, imprisonment of immigrants; much more passive aggressive and not as obvious

- Paradox of exhibitionism in a moment of surveillance = all forms of communication regulate along axis of seeing and being seen - Suffer who controls the gaze

- Black domestic workers face considerable barriers - Devise creative strategies - Black women household workers abide by Code of Ethics to avoid working for unfair employers - Factory workers use collective strategies to control pace of work - Work was alienating and oppressing, so workers tried to reduce labor - Theft was a form of resistance to contest power of public utilities on their lives - Moral Economy = believed had rights to take home excess food - Racial politics of manhood = men had to hold back from manly behavior, emasculating - Gender = shaped collective consciousness, form network of sisterhood

1993. Director John Akomfrah. - Summary: Documentary film about the life of Malcolm X, the influential civil rights activist who was assassinated in 1965, through a series of narrations and dramatic reenactments. The narrations are conducted by members of Malcolm X's family, former aides, eyewitnesses, scholars of history, social analysts and quotations from Malcolm X's autobiography. - Use of props (mis-en-scene), color, suspension, dream framework - Malcolm X was a black Muslim who supported revolution tactics that included violence

- How does it differ from Spike Lee's epic narrative? - How can we describe Akomfrah's style? Documentary form got caught in dream world, theatrical tableau, avant garde

1981. Director Joanne Grant. - Summary: The life and work of the civil rights leader who organized marches and protests during the 1960s. - Baker was a Black hero of the civil rights Freedom Movement who inspired and guided emerging leaders. - She played key role in some of the most influential organizations of the time, including the NAACP, Martin Luther King's Southern Christian Leadership Conference, and the Student Nonviolent Coordinating Committee. - Global humanitarian - Fundi = Swahili for a person who teaches a craft to the next generation

- How does Joanna Grant construct Baker's story? Documentary conventions (voice of God narration, narrative of major events in the Civil Rights movement), centralizing everyday, Ella Baker's Philosophy (sees herself as a facilitator) - How does Baker's leadership style differ from King's leadership as reveled in Selma? From Malcolm X? - Does the documentary take on a style similar or reflective of Baker's decentralized philosophy of leadership

- Style which resists the tendency to use pessimism and blackness as a way of putting down black people

- Critical perspective that opens up inquiry into the many overlaps between technoculture and black Diasporic histories - Explores questions of diaspora and Black migration through the lens of science fiction, cosmology and the imagined future - Reclaiming American history by demonstrating how African slaves and their descendants experienced conditions of homelessness, alienation - Utopian link between slave past and future of black genius

- Process by which the European powers reached a position of economic, military, political and cultural domination in much of Asia, African and Latin America - Manifest Destiny (expansion divinely inspired regardless of human toll) - Hottentot Venus, Ota Benga, Josephine Baker, Nicki Minaj

- Lack of government oversight over business expansion - Expansion of the corporation as a colonialist force - Global movement and refugees

1984. Director Rob Epstein. - Summary: Operating from his camera store in San Francisco's Castro district, charismatic Harvey Milk is defeated three times before being elected to the city's Board of Supervisors, making him California's first openly gay public official. On the job he meets fellow supervisor Dan White, a homophobic ex-fireman with whom Milk develops a troubled working relationship. White grows increasingly disgruntled, resigns from his position and subsequently assassinates both Milk and Mayor George Moscone. - Harvey Milk was one of the first openly gay public officials to be elected in the U.S. and served on the SF Board of Supervisors.

- What is unique about Milk's political philosophy? - What forces does the film suggest made it possible for Milk to become a revolutionary figure? How might you compare and contrast this with Malcolm X? - Why has Milk become such an important national figure? What does he represent?

- How does Gus Van Sant link Milk to a broader cultural movement? - How and where does Van Sant make the closet visible in the film? What does he contrast it to? - Why is Milk an important figure for the mainstreaming of the gay movement?

1985. Director Iverson White. - Summary: Narrative film concerned with the migration of African-Americans from the south to the north in the early 1900s, and with the impact of a lynching on one proud family. - Great Migration (1910-1960) Movement of African Americans from the South to the North en mass - Historical drama that pictures the A-A past in a way that highlights the potential for revolutionary politics in a moment where we don't currently see it.

- What is the protagonist's path to fighting back against injustice? - What moment or moments are pivotal in the development of his consciousness?

- Analysis of black cinema in 1960s - Ideology reduces blacks to root of all racial problems - Use cinematic outlet as compelling mode to present more authentic narrative of black social reality, critiques mainstream discourse - Overturns in 1990s (increased funding to reinvent history and close historical gaps) - Black documentaries carry burden of altering world's perceptions

- 1977 and 2016 - Teleological narrative explaining a phenomenon by its effects rather than its causes - Narrative of explanation

1969. Director Gillo Pontecorvo. - Summary: During the 1840s, Britain sends secret agent Sir William Walker to break up Portugal's sugar monopoly on the fictional Caribbean island of Queimada. Walker incites the slaves to revolt under the leadership of a dock worker, José Dolores, while simultaneously convincing plantation owners to turn against the government. A decade later, however, Walker must return to Queimada to confront his one-time pupil, Dolores, who now leads a revolt to throw out the British. - Non-emancipation from slavery - Slowness of change - Idea of freedom as cooperated for corporate gain - Hollywood Elements (Western icons and heros, costume and makeup, homosocial relationship) - Ethnographic Elements (camera work, alienation effect)

- How does the film suggest continuities between the colonial mode of enslavement and its postcolonial descendants? - What is the role of capitalism in the system and cycle of power articulated here? - Is this a Hollywood or Western film? - What is role of spontaneity in the struggle on screen? - How does film depict and describe routinized forces of revolution? - Is the film relevant today?

1963. Director Ousmane Sembène. - Summary: (AKA The Wagoner) It is often considered the first film ever made in Africa by a black African. It tells a story about a cart driver in Dakar and illustrates the poverty in Africa, showing that independence has not solved the problems of its people. - One of earliest film by a Black African - Senegal 1963 - Neo-realist

- How does colonialism weave through the spaces and across borders into the private realm? - What happens at the ending? How do money problems get solved? - What is the role of voice-over in film? - How should we feel about protagonist? - What does the film suggest has changed since the days of colonialism

1987. Director Paul Verhoeven. - Summary: In a violent, near-apocalyptic Detroit, evil corporation Omni Consumer Products wins a contract from the city government to privatize the police force. To test their crime-eradicating cyborgs, the company leads street cop Alex Murphy into an armed confrontation with crime lord Boddicker so they can use his body to support their untested RoboCop prototype. But when RoboCop learns of the company's nefarious plans, he turns on his masters. - Ultraviolence - Gun violence and the city, rise of police control - Connect to young audience - Fall of Production Code

- Conclusion: compensating Moral Value at the end (violence doesn't pay), avoid glorifying the gangster, show that he is properly punished. - Shooting in long-shot - Shorten duration of shot - Shooting things not people

2002. Director Michael Moore. - Summary: Political documentary filmmaker Michael Moore explores the circumstances that lead to the 1999 Columbine High School massacre and, more broadly, the proliferation of guns and the high homicide rate in America. In his trademark provocative fashion, Moore accosts Kmart corporate employees and pleads with them to stop selling bullets, investigates why Canada doesn't have the same excessive rate of gun violence and questions actor Charlton Heston on his support of the National Rifle Association. - Aimed at youth

- How does the film trace the genesis of America's gun problem? - Where does the American colonial era come up in the film? - What exactly is the colonial force that Michael Moore is pointing us toward?

1987. Director Tracey Moffatt. - Summary: Three Aboriginal women cruise through Kings Cross and pick up a 'captain' (a drunken white man). They encourage him to spend his money on them and to drink until incapacitated while they steal his wallet and race off to catch a cab, self-satisfied. Nice Coloured Girls contrasts the relationship between Aboriginal women and white men in the past and present. The film juxtaposes contemporary images of black women taking advantage of a white man with a voice over of journal extracts from early white settlers and sailors, in order to question the validity of conventional white history and to deny the image of Aborigines as passive and powerless. Through counterpoint of sound, image, and printed text, the film conveys the perspective of Aboriginal women while acknowledging that oppression and enforced silence still shape their consciousness. The soundscape recalls a rural environment, while the voice-over of extracts from the diary of colonist Lieutenant William Bradley recalls the first settlement.

- What is the significance of various species the film aurally invokes? What relationship is suggested? - How are voice over and subtitles used to artistic purpose? Whose voice do we hear? - How is the notion of love and romance altered? - Commentary on colonial relations?

- New class war is the post-1960s battle for space in the built environment of the city - Fortress LA = post liberal LA (after 1960s), defense of luxury lifestyles, obsession with physical security systems, white middle class minds magnify violence in ethnic areas - Destruction of public space - Forbidden City = downtown cut off from poor neighborhood, no mix of old/new, bumproof benches, park sprinklers to deter sleeping, police sweeps on homeless - Panopticon = rich have surveillance, LAPS - Carceral City = overcrowding

- Portrayal of minority groups in Hollywood - Racism is a structural phenomenon in cinema born out of colonialism - Colonialism = process by which Euro powers reached a position of economic, military, political and cultural domination in Asia, African and Latin America - Third World = historical victims of colonization process - Racism = generalized assigning of values to to accuser's benefit at victim's expense to justify privilege and aggression - Third Cinema = 1960s & 70s - Camera puts audience as spectators from colonial perspective - Misportrayal of minutes in films/literature - Absence of oppressed groups in Hollywood - Push for positive imaging often means blacks are put into white roles - Film has fought racism with close ups to empathize with them (political positioning) - Role of African music (barbarian, use Euro music to convey emotion for minority struggle)

- Nomads rooted in myths and incorporate spiritual, artistic and cultural expression - Art has two factors to nomads: 1. ability to consolidate community through ritual and performance, 2. collective participation in artistic forms - Lifestyle of free people, temporary settlement - Nomadic principles: everything is in the cosmos, spiritual and real are fused together, story telling, time is subjective - Black people and nomads are united by language, symbolism, metaphor, music, idea of freedom - African American cinema drawing connection to nomadic culture (journey films wandering, cannot be categorized under one notion, not uniform or homogenous)

- Act of decolonization is a violent event - Decolonization never goes unnoticed, results in liberation and creation of man - Colonizer vs. colonized - Colonizers attempt to understand colonized, but overall worldview doesn't change - Colonize must integrate ideology of colonized into themselves

- Gillo Pontecorvo directed Burn! based on postcolonialism after independence in Africa, Caribbean - Member of Italian Communist Party - Declares not problems in political films - Jew that supports Palestinians in conflict: " it is a colonial situation"

- Discourse beyond official discourse - A lot happening beneath the surface of social issues