Alexandra Brown

Whittaker
Film and Culture
10/20/2014
Cinema and the American Experience

Film is a cultural mirror. What we see in American cinema is a reflection of the values
and beliefs we uphold as a country. Unfortunately, the most popular films usually reflect only the
values of the American hegemony (a.k.a., The Man)-- white, patriarchal, capitalism. Many
minorities go under-represented or misrepresented in most Hollywood films. The hegemon is in
a constant battle to keep its power, because they fear the truth: film connects us all, and if
minorities are adequately and equally represented, we can--and will--relate to them as human
beings. This is because films speak through common themes that any person can relate to. Love,
joy, loss, loneliness, anger, family, fear, friendship, and so on, are themes that every single
human being has experienced. Regardless of the gender, orientation, race, etc. of the characters
in the film, these themes are made available to everyone in the audience (minority or not).
Whether we personally think a movie is good or bad, we still relate to it on some
level-- whether its a typical romantic comedy or a tear-jerking drama. Even in a movie based
around racism or poverty-- which the white, patriarchal, capitalist has likely never experienced-there are still themes that reach out and grasp any particular audience member. A good example
of this phenomenon is Beasts of the Southern Wild, directed by Benh Zeitlin. Beasts follows the
story of Hushpuppy, a six-year-old whose hot-headed father suffers from a health condition
while their impoverished Bayou community experiences disaster. Now, most of the audience that
views this film has probably never been in this situation-- they probably arent six years old

either. Then, why watch it? People watch films because they can relate to them. Maybe the
audience isnt six years old-- but they have been six years old. They probably know some sixyear-olds. The audience might not have experienced a natural disaster-- but theyve probably
experienced the loss, grief, or confusion that comes with it. Not everyone in the audience has
experienced poverty-- but theyve probably experienced sacrifice, instability, generosity. These
themes transcend the particular situation in the film. Though the hero of the film is a poor, black
child, the audience admires her. Zeitlin speaks of Hushpuppy, saying, I put all the wisdom and
courage I've got into her, which certainly shines through in her character (qtd. in Pinkerton).
While many people turn to fictional films for entertainment, many also turn to
documentaries, a non-fiction genre that forges an even more literal and direct connection to our
American experience. Documentaries can be used to tell the stories of Americans whose stories
may not otherwise be told. Film documentaries can shed new light on the lives of minorities who
may be misrepresented and stereotyped. A good example of this is the documentary by Stacy
Peralta, Crips and Bloods: Made in America. The film documents the events that led to the birth
of two of the most violent gangs in the United States, and explores the circumstances that lead to
gang association and its effect on African-American families living in South Central Los
Angeles. An important part of this informational film is that it explains the history behind these
groups.
Studying and understanding our history as a country-- including the more regrettable
parts-- is a manifestation of our American experience. The film discusses the Watts riots in
August of 1965, in which locals faced 16,000 National Guard members and hundreds of police
officers-- leading to the death of over 34 people and over 1,000 wounded (Ko). This was
obviously a major event in U.S. history, thus leading to todays American experience. Film

documentary is an important tool in breaking down barriers between cultures and creating a
plane for the empathetic discussion of prominent topics in our society. Expository films can raise
awareness for important issues and offer motivation and ideas for resolution.
On the other hand, films are capable of impacting the American experience in a negative
way. Many popular Hollywood films perpetuate stereotypes and harmful ideologies. According
to Karen Pyke of the Pacific Sociological Association, All systems of oppression not thoroughly
coerced through brute force and overt repression involve the dominant groups ability to win
consent of the oppressed. There is no better way for the dominant ideology of the white,
heterosexual patriarch than to portray stereotypes in media that strengthen the hegemonic ideals.
While its true that American cinema is generally no longer blatantly racist, sexist, and
homophobic, this is merely due to hegemonic negotiation-- a sort of toning down of the
hegemonic ideals under the guise of becoming more equal or just. There is still an
overabundance of the use of stereotypes in popular film, and it affects us all even if were not
aware of it.
An example of a stereotype that in common in film held against women is the classic
damsel in distress plot. For years, classical Hollywood film has portrayed women as helpless
pawns to be rescued by their (white, heterosexual) male hero. Women are often treated as mere
love interests or rewards for the male hero. While this portrayal is more obvious in
action/adventure films like Spiderman, King Kong, and Tarzan, it is also quite common in
dramas and romantic comedies such as Cant Buy Me Love and Say Anything. Many films often
tell a story that begins with unrequited love, upon which the male protagonist persistently acts
(pursuing the female character although shes clearly uninterested), and in the end he is
rewarded with her apparent change of heart. Unfortunately, the men and women who see these

movies walk away with the impression that its normal to continue the romantic or sexual pursuit
(and sometimes borderline harassment and stalking) of someone who has expressed their
disinterest. While these movies appear to be all in good fun, they are reinforcing (no matter how
subtly) sexist tendencies that ultimately result in many American men feeling entitled to the
affection and attention of women.
Another harmful ideology that may be perpetuated in American cinema is racism. While
many Americans may feel that it is no longer an issue, systematic racism is still incredibly
prevalent and affects the lives of people of color across the country. The reason racism continues
to be an issue is in part due to internalized racism-- the self-hatred felt by the oppressed race,
whether its conscious or not. An early example of racial stereotypes being perpetuated by
American cinema is seen in the 1915 D.W. Griffith film, Birth of a Nation. The film portrays the
Black Buck stereotype rather blatantly, depicting a black former slave named Gus as
aggressive and untameable. The film caused an uproar and a resurgence of the Ku Klux Klan in
its time.
While todays films might not be causing such an obvious spike in racism, there are still
stereotypes that, in the long run, lead people to justify racial oppression as it continues to be
enforced by the hegemon. A more recent example of racial stereotypes is found in the popular
1995 film, Clueless. The main character, Cher, asks her Latin-American maid to ask her gardener
(whom is also Latin-American) if he can clear out the bush, because she cant speak Mexican.
Her maid is upset by this, and tells her that she is not Mexican-- shes from El Salvador. This
may seem like a harmless mistake, but its actually a justification of cultural erasure. By
assuming that all Latin-Americans are from Mexico, it invalidates and alienates other Latin

cultures and individuals. The portrayal of these stereotypes (even if not necessarily obviously
negative) leaves an audience with reinforced internalized racism.
Film is a powerful tool when it comes to the social and cultural aspects of our American
experience-- a tool that can be used in either benevolence or malevolence. While film can
enhance our lives by disassembling cultural barriers and eliciting a greater sense of empathy for
all of humanity; it can also perpetuate negative ideology and keep the hegemonic system in
power.

Works Cited

Ko, Lisa. "Timeline: South Central Los Angeles." PBS. PBS, 21 Apr. 2009. Web. 27 Oct. 2014.

Pinkerton, Nick. "Beasts Of The Southern Wild." Sight And Sound 11 (2012): 82. Academic
OneFile. Web. 26 Oct. 2014.

Pyke, Karen D. "What Is Internalized Racial Oppression And Why Don't We Study It?
Acknowledging Racism's Hidden Injuries." Sociological Perspectives 53.4 (2010): 551-572.
Business Source Premier. Web. 16 Nov. 2014.