Ali: Fear Eats the Soul, directed by Rainer Werner Fassbinder, is about the unexpected and discordant relationship between an elderly cleaning lady named Emmi and a Moroccan guest worker named Ali. The film takes place in 70s Germany, during a time when the country was fraught with racism; immigrants were treated at the time with complete contempt. Both Ali and Emmi throughout the film are marginalized for the dichotomy of Ali being Moroccan and Emmi, a born and bred German. Potentially the scene that epitomizes Fassbinder’s opprobrium for German society occurs when Ali and Emmi are in a restaurant together, isolation apparent as onlookers keep their distance from the recently married couple.
Many parts of Martin Luther King’s dream have come true, or much closer to realization. The dream of ending segregation has been fulfilled and there are equal rights for all races. The USA and much of the world has moved a long way towards Kings wishes that people should “not be judged by the color of their skin, but by the content of their character.” One of the interesting documentary, I watched was call The Color of Fear, where it was talking different ethnicities. .
Question One: According to some of the scholars we have read during the semester, one of the most important projects of black independent filmmaking is to create an “oppositional gaze” on screen. Through an in-depth discussion of Cheryl Dunye's's film The Watermelon Woman, write about how creation of such oppositional gaze on screen contributes to the creation of a black queer/lesbian memory. The Watermelon Woman film created an interacial lesbian gaze that will be unforgettable for me due to how attracted these two women were to each other and the events that the gaze lead to. How, as it were, could a film like The Watermelon Woman build up a lesbian, black female gaze.
“In the animal kingdom, the rule is, eat or be eaten,..” Stated by Thomas Szasz. The animals live in a way where if they are not on the top of the food chain, they live in fear and worry that they may be eaten. In the article Dread is vanishing from the animal world. Here’s why that's a bad thing, by Sarah Kaplan, she explains how we as humans are leading top predators to go extinct or come close to.
Initially, the writer tries to build fear within the character in the fourth paragraph by using structural techniques. To begin with, the writer explains that she “drove cautiously”, enabling the audience to imagine a ghostly scene with a car slowly passing by. Since she drove cautiously, the foreshadowing is revealed as it is suggested that she already knew something was going to happen. To extend this, after the writer describes the girl "cautiously" driving, the writer mentions “three buzz-cut-bald men” strangely approaching her – without any warning. Nevertheless, because of the focus change, the audience are enabled to realise the atmospheric change, as well as imagining how the girl feels now – due to how she was already nervous.
After seeing The Great Debaters, I had many diverse feelings, because despite being a white person, my roots are African. I cannot imagine my beloved grandmother living at that time frightened and suffered in the part of the white people and the government. Despite being a film where the harsh reality of the 30s where that black people suffered mistreated, racism, discrimination, exploitation, oppression, and abuse. In this movie, we can find many teachings like pacifism and discipline.
A common concern running through all of the chapters in Part Two has to do with how to represent the experience of another in a way that is not objectifying or exploitative. Different filmmakers have different strategies for doing this, that is, for making films they feel are ethical. Central to this debate is how to represent extreme poverty, marginality, or precarity. In “Capturing the ‘Real’ in Panama’s Canal Ghettos,” Emily F. Davidson approaches this question by analyzing the “ghetto documentary” genre, which, she argues, has had a tendency to lapse into “poverty porn.” Some recent documentaries from Panama, however, namely Héctor Herrera and Joan Cutrina’s One dollar: el precio de la vida
Context Emile Boirac is a French scientist who started to investigate déjà vu, and in 1876 invented the name to this unusual mental condition. Literally, this French term implies “already seen”. The vision, noise, flavour or aroma can make us believe that we have practised it previously, though we know that we could not have (Obringer, 2006). According to Teale and O'Connor, young people feel familiarity due to déjà vu more often than adults.
Critique and Personal Reflection The book Black Skin white Mask is overall a powerful book which can still be used and still is applicable in today’s society. Throughout the book there are a lot of strengths that made the book both accurate and captivating. Firstly, the book was written from the perspective of a Black man who experienced the effects of colonization first hand. Therefore, the descriptions of the black experience during his time were accurately and vividly conveyed to the reader.
Alan Seeger’s poem, I Have a Rendezvous with Death is a truly gripping narrative about himself as a soldier who is facing the possibility of his death. I found this story particularly engaging due to the writing style and unique personification of death. Perhaps the most fascinating aspect of the story is that Seeger intends for this to be a personal account. In this elegy, Seeger uses repetition, personification and diction.
Opinion vs. Experience People display judgment through the concept of racism. In America, African-Americans and Native Americans had been the races colonials decided to exploit. During World War II Jewish people were the targets for Nazi Germany. Using pathos, ethos, and logos Woody Allen's Random Reflections of A Second Rate Mind and Bruno Bettelheim's A Victim reflects how society requires a group to belittle in order to make them stronger. Using pathos Bruno Bettelheim's A Victim captures the reader and shows them the conditions of the camps.