Poster for Junction 48 Guest post by David A. With the recent release of the award-winning Israeli feature film, Junction 48acclaimed Director and Activist Udi Aloni has made a significant intervention into the ongoing discussion of vulnerability, popular culture, and Palestinian activism in Israel. Through a coming-of-age romance between Kareem and Manar Samar Quptithe film depicts the struggles of a new generation of Palestinian youth caught between multiple worlds: Palestinian citizens of Israel negotiating the colonial state politics of erasure as well as the demands of Arab nationalism and Islamic patriarchy.
Some of cinema's greatest films and filmmakers either did not win the top Academy Award Best Picture, Best Directoror they were ignored entirely. DRT was not the first film directed by an African-American filmmaker to deal with issues of contemporaneous oppressive, institutional racism.
However, it was unique in that it was a mainstream studio production, dealing with racial issues, told from a black perspective, and refusing to conform to established Hollywood narrative norms. DRT is, today, widely regarded as one of the most creatively and culturally important films ever produced in the United States.
An analysis of the film's narrative discourse, interwoven with discussions of Hollywood's historical handling of social justice themed films, will reveal that the failure to recognize the film represented a rebuke of the film's message, its creator, and its overall aesthetic.
Spike Lee wastes no time establishing the importance of music to the narrative discourse of DRT.
Alternately, diegetic and non-diegetic, conventional and innovative, old and new, Lee uses the clash of jazz and hip-hop as a foundation for the film's narrational mode and visual aesthetic. Music functions, at times, as a unifying agent and, at others, as a means of establishing individual and collective identity.
The more traditional use of jazz creates a sentimental, plaintive mood that is frequently unsettled by the rhythmic power of hip-hop, specifically, Public Enemy's "Fight the Power," a song that literally becomes a narrative agent.
The interplay of these two musical genres inform the film's visual style, interweaving with and becoming central to its discourse, positioning the film in the modal history of Hollywood cinema jazz while simultaneously announcing a distinct narrational and aesthetic departure hip-hop ; a departure, for which, Oscar voters were not prepared, thus did not condone.
Jazz is the first auditory or visual element presented to the viewer in DRT. A plaintive saxophone plays against a blank screen before the inevitable appearance of the Universal logo the film's distribution studio. As the saxophone continues to play, Lee's production company is revealed, followed by the film's title.
The use of jazz in this brief, opening sequence communicates music's centrality to the narrative discourse, establishing the more traditional, non-diegetic, mournful half of the film's score, something Victoria E.
Johnson refers to as "historic-nostalgic. By opening the film in this manner, Lee knowingly cues the spectator to expect a more traditional, mainstream film, an expectation that will be shattered almost immediately.
Functioning primarily as non-diegetic background music, jazz frequently accompanies and facilitates character introductions and interactions, as in the case of two of the neighborhood's elderly characters, Mother Sister Ruby Dee and Da Mayor Ossie Davis. Introducing jazz as a nostalgia signifier prior to the entrance of "Fight the Power," immediately establishes one of the film's primary thematic concerns: Underscoring this thematic clash is the order in which the film's respective distribution and production company logos are revealed.
Consistent with its status as the film's distributor, Universal's logo is the first image presented to the viewer. Presenting Universal's logo first is not only established Hollywood protocol, it is an initial, tacit indication of a broader institutional power structure; one that Public Enemy, and by extension, Spike Lee, will spend the duration of the film imploring the spectator to fight.
Drawing from music video traditions, a series of jump cuts, edited to the beat of the song, reveal Tina Rosie Perezbathed in red light, against a backdrop of brownstone apartments in the Bedford-Stuyvesant neighborhood of Brooklyn. As the song plays in its entirety, Tina proceeds to feverishly dance, center-framed, in front of the backdrop, frequently addressing the camera directly, acknowledging the spectator in the process.
Although this sequence is not related to the film's story, it is vital to establishing the film's narrational mode and visual aesthetic. The use of the music video aesthetic blurs the line between diegetic and non-diegetic music, firmly establishing not only the role of music, but its structural function in the film's discourse, as well.
The rhythmic editing is done to the beat of the music, and stylized images dominate the visual aesthetic, introducing Lee's preferred mise-en-scene: Not only is Tina dancing to the music, she is, at times, acting out the lyrics, such as when she dons a boxing outfit to visually articulate the word "fight.
This opening challenge to the status quo, establishes the film and its characters as "other," something to approach with caution.Popular culture is the accumulation of cultural products such as music, art, literature, fashion, dance, film, cyberculture, television and radio that are consumed by the majority of a society's population.
Each country, each culture, immortalizes its history in film in different ways. Below are presented a sketch of some of the more famous movies pertaining to the war .
Sep 25, · Brock University's Department of Communication, Popular Culture and Film is a multi-stream program offering cutting-edge courses on the topics, .
Setting films with sensitive subject matters in the past dilutes the film's relevance to the present. In the case of DMD, the film begins in Atlanta, Georgia, in , prior to the Civil Rights Movement, and ends in , after the end of the movement.
Cannibalism in popular culture is a recurring theme, especially within the horror genre, and has featured in a range of media that includes film, television, literature, music and video games. Pop culture, or popular culture, is the collection of ideas, opinions, and images popular within a culture at a given time.
It is constantly changing with each year. Today, the tv series Stranger Things, the National Museum of African American History and Culture, the election, and the Broadway hit.