Ethical analysis, white supremacist, film Crash, US racial groups, Whites, Blacks, Latinos, Koreans, Iranians, social divisions
The film Crash (2004) tells a story of the interrelationship between five of the USA racial groups namely the Whites, the Blacks, the Latinos, Koreans and Iranians. While all the five races are playing different roles and depictions in developing the film, the ultimate social comment that comes out of this film is the supremacy of the white race over the other races in the USA. The film ultimately managed to promote the theme of human connectivity, despite the existence of social divisions (Orbe & Kinefuchi, 2008).
[...] "Crash" is a White Supremacist Movie! Retrieved from racism.org: http://www.racism.org/index.php?option=com_content&view=article&id=401: whiteness19a&catid=69&Itemid=165 Kotler, S. (2005, November 16). Crash. Daily Variety, p Madison, K. (1999). Legitimation crisis and containment: The ―anti-racist- white-hero film. Critical Studies in Mass Communication 399-416. McPhail, M. L. [...]
[...] Hooks, b. (1996). Reel to real: Race, sex, and class in the movies. New York: Routledge. Haggis, P. (Director). (2004). Crash [Motion Picture]. Jensen, R., & Wosnitzer, R. (2015). [...]
[...] In fact, any time the law is applied in the film crash, the black race is punished. On the other hand, where the white race applies the law discriminately to harass the blacks, the law remains dormant. The social commentary presented by the film crash in this respect, is that the law is available for the protection of the white race (Madison, 1999). The non-verbal language of negative differences is also applied to indicate the contrast between the supremacy of the whites and the domination of the blacks, even when the social convention dictates otherwise. [...]
[...] (1991). Complicity: The theory of negative difference. Howard Journal of Communications 1-13. Orbe, M. P. & Kinefuchi, E. (2008). Crash under investigation: Engaging complications of complicity, coherence, and implicature through critical analysis. Critical Studies in Media Communication, 135- 156. [...]
[...] It can thus be argued that the film is mostly based the white supremacy and more particularly, it is white supremacist since the context seems to minimize the authenticity of the white supremacy. It portrays forged humanism as well as a simplistic tolerance message, which tries to direct attention away from a system that is typically white supremacist thereby undermining the accountability of the white people for maintaining such a malevolent system. Nevertheless, it is difficult to judge this thematic perspective as having been the writer's conscious intentions although it comes out as a dominant theme (Jensen & Wosnitzer, 2015). [...]
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