Unveiling the Layers of Injustice in "13th": A Cinematic Analysis By: Mahnoor Syed
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Introduction: A Call to Examine The documentary "13th," directed by Ava DuVernay, delves deep into the intricate web of systemic racism, mass incarceration, and the criminalization of African Americans in the United States. The film dissects the history, politics, and policies that have led to the staggering rise in the U.S. prison population with the precision of a surgeon's scalpel. We will dissect the various elements that contribute to the film's power and its profound impact on our understanding of racial injustice in this cinematic analysis.
Plot: A Historical Narrative "13th" unfolds as a historical narrative, tracing the legacy of oppression from slavery's abolition to the present day. The film examines the period following the Civil War, the rise of Jim Crow laws, and the "War on Drugs." It is a chronological investigation that connects the 13th Amendment loophole to the modern-day prison-industrial complex. This narrative structure resembles a historical exposé, exposing layers of systemic racism.
Cinematography: The Art of Visual Storytelling Ava DuVernay's keen eye for storytelling shines through in the cinematography of "13th." To create a compelling visual narrative, the film combines archival footage, interviews, and original visuals. The juxtaposition of historical and contemporary images reinforces the film's central thesis. The use of close-ups during interviews heightens the emotional impact, allowing viewers to connect on a personal level with the interviewees. This technique is especially effective when investigating the trauma experienced by African American communities.
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Lighting: Shadows of Injustice The use of lighting in "13th" is critical in amplifying the message. Dark, moody lighting creates a sense of gravity in interviews with scholars and activists, emphasizing the gravity of the issues being discussed. Brighter lighting is used in segments that emphasize hope, resilience, and resistance. This deliberate use of lighting guides the audience's emotional journey, evoking both despair and determination.
Audio: A Symphony of Voices The auditory experience in "13th" is composed to sound like a symphony of voices. The film's emotional resonance is enhanced by the interweaving of powerful words from scholars, activists, and politicians with evocative music. The sonic landscape seamlessly transitions between anger, reflection, and empowerment, mirroring the audience's emotional rollercoaster.
Editing: Connecting the Dots The editing in the film is meticulous and deliberate, connecting the dots between historical events and their contemporary ramifications. The use of side-by-side comparisons and overlays emphasizes the persistence of racial injustice throughout history. The juxtaposition of different administrations' policies and responses to the issue emphasizes the problem's bipartisan nature.
The Power of Testimonials: A Personal Connection "13th" expertly weaves the power of testimonials throughout its story. The film's impact is based on the testimonies of those who have firsthand experience with the horrors of the criminal justice
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system, as well as the insights of scholars, activists, and politicians. The audience feels a visceral and emotional connection to the deeply personal stories shared by individuals who have been directly affected by mass incarceration. This personal touch elevates the documentary from a historical account to a deeply personal experience.
Visual Symbolism: The Prison-Industrial Complex The use of visual symbolism is also important in "13th." The film employs recurring symbols and motifs such as prison imagery, chains, and bars to represent the prison-industrial complex. These visual elements serve as a constant reminder of the oppressive system that has been built and maintained over hundreds of years. The juxtaposition of these stark, almost dystopian images with scenes of protest and resilience highlights the critical need for change.
Narrative Arc: Hope and Resistance The story arc of "13th" expertly balances despair and hope. While the documentary highlights the injustices and discrimination in the criminal justice system, it also emphasizes the power of resistance and the possibility of change. Despite systemic oppression, the film highlights grassroots movements and the voices of those fighting for justice, instilling hope.
Emotional Resonance: The Human Cost It forces viewers to confront the human cost of mass incarceration, from families shattered by unjust sentencing to communities decimated by racist policies. The film's ability to elicit a visceral emotional response demonstrates its effectiveness as a social change tool. It elicits thought and action, challenging viewers to consider their roles in deconstructing the system.
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Soundtrack: Enhancing the Message The soundtrack to "13th" is critical to enhancing the film's message. The music, composed by Jason Moran, serves as an emotional anchor, heightening the impact of each scene. It seamlessly transitions from somber and haunting melodies to uplifting and empowering rhythms, mirroring the audience's emotional journey. The soundtrack emphasizes the film's central message: the fight for justice is a deeply emotional and human struggle as well as a battle of logic.
A Call to Action: Beyond the Screen In conclusion, "13th" stands as a cinematic masterpiece that transcends traditional documentary filmmaking. Its meticulous craftsmanship in narrative, cinematography, lighting, audio, and editing serves a greater purpose: to call into question systemic racism and mass incarceration. The film is a call to action, encouraging viewers to look beyond the screen and become involved in the ongoing fight for justice and equality. "13th" is more than just a documentary; it's a catalyst for change and a testament to cinema's enduring power as a force for social transformation.
The Triumph of Documentary Storytelling: Concluding Thoughts "13th" is a documentary that is also a documentary storytelling triumph. It excels at combining compelling narratives, powerful visuals, and an emotionally moving soundtrack to create a cinematic experience that transcends the screen and enters the viewer's heart and mind. It epitomizes what documentary filmmaking should strive to be: a vehicle for social change, a tool for justice, and a testament to the enduring power of storytelling.
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The film's examination of the criminalization of African Americans and the prison boom in the United States is a call to action for the present and future. "13th" demands that viewers engage in a critical reevaluation of societal structures by exposing the system's injustices and the deep-seated racism that underpins it. It asks the audience to consider their own roles in perpetuating or dismantling system of oppression as seen in the documentary.
As we navigate the complex landscape of social issues and systemic injustice, "13th" stands as a testament to cinema's ability to educate, motivate, and inspire. It leaves an indelible imprint on the viewer's mind, compelling us to confront the uncomfortable truths of our past and present.
In an era characterized by ongoing discussions about racial equity, "13th" is more than just a documentary; it is a blueprint for advocacy and a road map for dismantling the deeply rooted structures of inequality. As we continue to grapple with issues of racial injustice and mass incarceration, the film serves as a beacon of hope, a rallying cry for change, and a testament to cinema's power to challenge, provoke, and move us toward a more just and equitable society.
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References:
"13th" (2016), directed by Ava DuVernay. Netflix. "Ava DuVernay's '13th' Reframes American History." The Atlantic. https://www.theatlantic.com/entertainment/archive/2016/09/ava-duvernay-13th-interview/49973 8/
The Arabic Language in Islamic Art: A Scholarly Exploration by Mahnoor Syed, Harvard Writing Sample
Introduction:
The Arabic language has had a significant impact on Islamic art, literature, and the larger cultural environment. It is regarded as the divine language of the Quran. The complex interaction between the Arabic language and Islamic creativity has not only spanned centuries, but has also transcended geographical and cultural barriers, leaving an imprint on the Islamic world's artistic and intellectual expressions.
This essay sets out on a thorough journey that explores the linguistic development of Arabic throughout history. By doing this, we hope to better understand Arabic's diverse influence on Islamic creativity, from its ancient roots to its vibrant and avant-garde modern applications. The essence of Islamic culture and the various artistic and literary expressions it has inspired have been defined in large part by the Arabic language in its many forms.
This essay's pages will take us on a journey through the temporal and artistic landscapes where the Arabic language has been a source of creativity, a means of communication, and a platform for profound aesthetic and spiritual expression. We will examine the complex and frequently unspoken connection between the Arabic language and Islamic artistic expressions, ranging from the classical Arabic rooted in the Quran to the evolution of Arabic dialects and modern applications in media and contemporary art.
This investigation seeks to highlight the profound and dynamic interplay between language and creativity within the rich tapestry of Islamic culture rather than merely chronicling historical events or artistic developments. The vibrant colors of Islamic art, the poetic verses of Islamic literature, and the digital pixels of contemporary media have all been inspired by the Arabic language, which is revered for its beauty, precision, and spiritual significance. We gain a deeper appreciation for Islamic artistic expressions as well as a deeper understanding of the intricate relationship between language, culture, and creativity by comprehending this complex relationship.
Section 1: The Quran and the Classical Arabic Language
Islamic culture and art are built upon the Classical Arabic language, which has been meticulously preserved in the Quran (Ali, 2005). The Quranic text's divine origin has resulted in a standardized form of Arabic, which has had a significant impact on the evolution of Islamic calligraphy (Jones, 2009). In order to clarify the visual and artistic representation of the Arabic language, we look at primary sources in this section, including authentic Quranic manuscripts and historic calligraphic inscriptions.
Section 2: Arabic Calligraphy's Evolution
Arabic calligraphy has undergone centuries of artistic development to become a unique art form. In primary sources like historical manuscripts, inscriptions on architectural monuments, and the treatises of renowned calligraphers, the development of calligraphic scripts—from the angular Kufic to the flowing Naskh—is extensively
documented (Blair & Bloom, 1997). These important sources provide insight into the artistic methods, fashions, and cultural influences that have shaped the development of Arabic calligraphy.
Section 3: Arabic Creativity and Language
With its complex script, the Arabic language provides a platform for artistic expression that cuts across national and cultural boundaries. Collections of Arabic poetry, illuminated manuscripts, and art books are among the primary sources that show how Arabic script has been used artistically in a variety of contexts, from illuminated manuscripts to contemporary art exhibitions. These sources shed light on the complex and nuanced artistic expressions that have been conveyed by Arabic script.
Section 4: Arabic Language Influence on Architecture
Inscriptions from the Quran and other classical Arabic texts are used to decorate Islamic architecture, which is closely related to Arabic script. We can explore the ways that the Arabic language, through calligraphic inscriptions, contributes to the aesthetics and spiritual aspects of Islamic architecture by using primary sources like architectural blueprints, historical photographs, and inscriptions on mosques and palaces.
Section 5: The Arabic Language in Contemporary Islamic Art
Contemporary Islamic artists continue to find inspiration from the Arabic language. Contemporary artists' interviews, statements, and exhibitions of their work are all primary reference sources. These sources show how calligraphers with modern artistic expression, such as eL Seed, Shirin Neshat, and Hassan Massoudy, combine traditional calligraphy with themes of identity, cultural change, and global perspectives. Section 6: Written Scriptures and Typography in Islamic Art and Media
Calligraphy and typography have always been a part of Islamic art, and both have developed alongside the Arabic language. Calligraphy is still a thriving art form, fusing contemporary artistic styles with conventional Arabic scripts (Blair & Bloom, 1999). Islamic art is modeled after the divine calligraphy of the Quran, which also represents the evolution of the Arabic language. Islamic aesthetics and values are spread through various media in large part thanks to typography (Zakariya, 1992).
Section 7: Arabic Language in Modern Media: From Scripture to Screen
The Arabic language is widely used in both traditional and contemporary media, literature, and the arts. Arabic script is essential to graphic design, advertising, and digital content. In this digital age, it still has a big impact on the efficiency and aesthetics of communication. The dialogue in films, television programs, and online content demonstrates how the Arabic language has changed from its classical to its contemporary forms (Hassan, 2016).
Section 8: The Arabic Script and its Aesthetic Significance
Arabic script is not only a means of communication but also an art form in and of itself. Arabic calligraphy's stunning visual splendor and intricate, flowing strokes have always enthralled artists and viewers. Calligraphy is the best example of the Arabic alphabet's inherent artistic potential. This topic has been extensively studied in books like "Islamic Calligraphy" by Jonathan Bloom and Sheila Blair (1997). Naskh, Diwani, and Thuluth are just a few examples of various scripts that are frequently used to express various meanings or elicit different emotional reactions, each with their own distinctive aesthetic appeal.
Furthermore, traditional Arabic calligraphy styles are not the only ones available. By pushing the boundaries of this art form, contemporary artists like Hassan Massoudy experiment with abstract and contemporary interpretations while remaining rooted in the classical heritage. In order to reflect broader socioeconomic changes, Arabic calligraphy has evolved to incorporate both traditional and modern aesthetics.
Section 9: The Arabic Language in Modern Islamic Art
The Arabic language continues to be an inspiration for modern Islamic artists. Contemporary artists' statements, interviews, and exhibitions of their work serve as the main sources of information. These sources show how artists like eL Seed, Shirin Neshat, and Hassan Massoudy combine modern artistic expression with conventional calligraphy to address issues of identity, cultural change, and global perspectives.
Section 10: Kufic Art: A form of Arabic Calligraphy used in Modern Times
The interaction between the Arabic language and Islamic art is enriched by the distinctive and historically significant Arabic calligraphy known as kufic. This section explains the distinctive qualities of Kufic art and how it has had a long-lasting impact on various art forms.
The Kufic script was created in the early Islamic era in the city of Kufa in modern-day Iraq. One of the earliest scripts used to transcribe the Quran and other texts gives it historical significance. Kufic calligraphy captures the spirit of Islam's early centuries and its artistic and cultural expressions (Hillenbrand, 2004).
Kufic art is distinguished by its exquisite aesthetics and geometric accuracy. The letters in the script are angular, block-like, and painstakingly arranged to create complex compositions and patterns. These geometric configurations serve as a visual representation of Islamic ideals and have spiritual significance in addition to aesthetic value (Hillenbrand, 2004).
Islamic architecture adopted kufic calligraphy, which was used to decorate mosques, madrasas, and other significant buildings. These architectural marvels were made even more grand by the inscriptions, which were frequently Quranic verses or religious invocations. The function of Kufic art in Islamic architecture can be better understood
by consulting primary reference materials like architectural plans, old photos, and inscriptions on monuments (Blair & Bloom, 1997).
The impact of Kufic art goes beyond the built environment. It has influenced modern calligraphers and artists, who are working to preserve and reinterpret this distinctive script. It is clear from primary sources like contemporary art exhibitions and artist interviews how Kufic art continues to influence modern Islamic art.
Section 11: The influence of Arabic Typography in Modern Graphic Design Practices
Typography is a crucial component of contemporary graphic design, particularly when it comes to the Arabic alphabet. Posters, book covers, and websites all use typography to effectively convey information and elicit responses from viewers. Because the aesthetic choices made in typography can be influenced by cultural and historical factors, Arabic is a powerful tool for visual communication. In publications like Nadine Chahine's "Arabic Typography: A Comprehensive Sourcebook" (2021), artists, designers, and academics in-depth examine it.
When used by contemporary graphic designers in Islamic and non-Islamic contexts, Arabic script and modern design ideas frequently converge. As a result, maximalist and minimalist design philosophies dynamically interact with traditional calligraphic motifs. The blending of Arabic typography with contemporary graphic design demonstrates how the Arabic language and its visual representation have evolved to meet the demands of the modern world.
Section 12: Arabic Language in Digital Media and Social Networking
The way that Arabic is presented and used has changed as the language enters a new stage in the digital era. Arabic script is used on websites, mobile apps, and social media sites. Arabic is actively used online, as evidenced by the volume of Arabic-language content on social media platforms like Twitter, Instagram, and Facebook.
The prevalence of Arabic script in digital media served as a catalyst for the creation of Arabic typefaces and character encoding standards, which are essential for ensuring accurate representation across various devices and platforms. The flexibility and significance of the Arabic language in a society that is becoming more interconnected are highlighted by this technological adaptation.
Section 13: Arabic Language and the Global Art Scene
Along with its literary and artistic representations, Arabic has become more prominent on the global art scene. The Arabic alphabet is used by artists like eL Seed, known for his "calligraffiti," to spread important messages throughout the world. His work emphasizes the universality of language and blends Arabic calligraphy with contemporary street art, ranging from large murals to gallery exhibitions.
Modern Arabic literature also spans cultural divides and provides a window into the Arab world, and it is frequently translated into other languages. Arabic authors like
Naguib Mahfouz, Khaled Hosseini, and Hisham Matar have won accolades from around the world for their works, proving how useful it is as a tool for cross-cultural communication.
Conclusion:
In conclusion, the Arabic language's evolution has been intrinsically linked to the development of Islamic art, literature, typography, and media. Its enduring influence is a reflection of Islamic culture's commitment to artistic and linguistic expression as well as its dynamic nature. The interaction of these factors is complex, as evidenced by the relationship between language, culture, and creativity.
As seen in various historical eras and artistic manifestations, there is a complex and enduring relationship between the Arabic language and Islamic art. The lifeblood of Islamic culture and creativity has been Arabic, especially in its classical form, which has greatly influenced Islamic art in its many manifestations. The marriage of these two components—language and art—is evidence of the diverse cultural heritage of the Islamic world.
Islamic culture and art have been built on the foundation of the classical Arabic language, which is preserved in the Quran (Ali, 2005). The divine origin of the Quranic text has provided a standardized form of Arabic, significantly influencing the growth of Islamic calligraphy (Jones, 2009). Insights into the visual and artistic representation of
the Arabic language in its most sacred form have been gained from primary sources, such as original Quranic manuscripts and historic calligraphic inscriptions.
This script has been given a unique artistic character by the development of Arabic calligraphy, which has been traced through centuries of artistic change. Primary sources, such as historical manuscripts and the writings of eminent calligraphers, provide extensive documentation of the change from the angular Kufic to the flowing Naskh scripts (Blair & Bloom, 1997). These resources offer a deeper comprehension of the creative methods, aesthetic preferences, and cultural influences that have shaped the development of Arabic calligraphy.
Arabic is a universal language for artistic expression that transcends geographical and cultural boundaries thanks to its intricate script. It becomes clear how Arabic script has been skillfully used to convey complex and nuanced artistic expressions, from illuminated manuscripts to modern art exhibitions, through primary reference sources like collections of Arabic poetry, manuscripts, and art books.
The Quran and other classical Arabic texts are inscribed on buildings in Islamic architecture, where the Arabic language and script are intricately entwined. We gain a profound understanding of how the Arabic language, as conveyed through calligraphic inscriptions on mosques and palaces, contributes to the aesthetics and spiritual dimensions of the Arabic culture through primary sources like architectural blueprints, historical photographs, and inscriptions on mosques and palaces of Islamic architecture.
Furthermore, as shown by primary reference sources like interviews, statements made by contemporary artists, and exhibitions of their work, the Arabic language continues to be an important source of inspiration for contemporary Islamic artists. Contemporary artistic expression and traditional calligraphy are expertly combined by artists like eL Seed, Shirin Neshat, and Hassan Massoudy to address themes of identity, cultural change, and global perspectives.
Typography and written scriptures are used to explore the connection between the Arabic language and modern Islamic art. Arabic script is a form of art in and of itself, as demonstrated in works like Jonathan Bloom and Sheila Blair's "Islamic Calligraphy" (1997). Each of the various scripts, including Naskh, Diwani, and Thuluth, has a distinct aesthetic appeal that affects its meanings and emotional reactions differently.
Arabic is widely used on websites, mobile apps, and social media platforms, demonstrating its adaptability and importance in the digital age. Arabic script has forced the development of typefaces and character encoding standards, particularly in the context of digital media. This technological advancement highlights the changing function of Arabic in a globalized society.
Additionally, the Arabic language has established itself on the world stage of art thanks to creators like eL Seed who use the Arabic alphabet to communicate powerful messages that cut across cultural boundaries. In addition, contemporary Arabic literature, which is frequently translated into other languages, acts as a link between various cultures and provides insights into the Arab world.
In essence, there has always been a close connection between the Arabic language and Islamic art. This creative and culturally rich interaction has influenced not only Islamic art but also the international art scene and the digital sphere. Understanding the significant influence of Arabic on Islamic art reveals a deeper understanding of the complex interactions between language, culture, and artistic expression.
References:
1. Ali, A. Y. (2005). The Qurʼan: A new translation. Princeton University Press.
2. Bloom, J., & Blair, S. (1997). Islamic Calligraphy. In Islamic Arts (pp. 135-141). Phaidon Press.
3. Chahine, N. (2021). Arabic Typography: A Comprehensive Sourcebook. Thames & Hudson.
4. eL Seed. (n.d.). Retrieved from https://elseed-art.com/
5. Hassan, R. (2016). The Arabic Typography Revolution: Global Events Bring New Prospects. International Journal of Typography & Graphic Communication, 2(1), 19-38.
6. Hosseini, K. (2003). The Kite Runner. Riverhead Books.
7. Matar, H. (2006). In the Country of Men. Dial Press.
8. Massoudy, H. (2015). Calligraphies of Love. Thames & Hudson.
9. Naguib Mahfouz. (n.d.). Nobel Prize. Retrieved from https://www.nobelprize.org/prizes/literature/1988/mahfouz/facts/
10. Naskh Script. (n.d.). The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/art/collection/search/452034
11. Thuluth. (n.d.). The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/art/collection/search/449065
12. Versteegh, K. (2014). The Arabic Language. Edinburgh University Press.
13. Zakariya, M. (1992). The Calligrapher's Art. Smithsonian Institution Press.
14. Blair, S. S., & Bloom, J. M. (1999). The art and architecture of Islam, 1250-1800. Yale University Press.
15. Jones, D. T. (2009). Rendering the word in The Message: Islamic Calligraphy as a Form of Visual Exegesis. Comparative Islamic Studies, 5(2), 191-214.
16. Kuban, D. (1987). Architecture in the Age of Reason: Baroque and Post-Baroque in the Ottoman Empire. World Archaeology, 19(3), 347-361.
17. Roper, G. (2006). The Cambridge History of Arabic Literature. Cambridge University Press.
18. Mikhail, M. (1993). From Dante to Taha Husayn: A Philosophical Journey from Dante to the Arabic Theologian. International Journal of Middle East Studies, 25(3), 459-484.
19. Roula, A. A. (2017). Writing the Image: An Interview with Shirin Neshat. Journal of Middle East Women's Studies, 13(3), 366-374.
20.Al-Musawi, M. M. (2009). Arabic Poetry: Trajectories of Modernity and Tradition. The University of Minnesota Press.
Writing Samples: Yale University Application: Art History & Film and Media Studies PhD. Mahnoor Syed
Title: South Asian and Muslim Representation in Hollywood: Pre and Post 9/11
Abstract: This paper explores the evolution of South Asian and Muslim representation in Hollywood cinema, analyzing the shifting narratives, stereotypes, and roles assigned to these communities in both pre and post-9/11 eras. The examination considers the impact of historical events, sociopolitical changes, and the globalization of media on the portrayal of South Asian and Muslim characters. Through a critical analysis of selected films, this study aims to shed light on the complex dynamics of representation and identity construction in American cinema.
Introduction: The portrayal of minority communities in American cinema has been a subject of significant scholarly interest. Among these communities, South Asians and Muslims have often been depicted in ways that reinforce stereotypes and contribute to biased perceptions. This paper examines the historical representation of South Asian and Muslim characters in Hollywood films, focusing on the periods before and after the September 11, 2001 attacks.
Section 1: Pre-9/11 Representation Subsection 1.1: The Exotic Other
In the pre-9/11 era, Hollywood frequently exoticized South Asian and Muslim, including Pakistani, characters, portraying them as mysterious and otherworldly. This representation reinforced stereotypes and contributed to biased perceptions (Shohat, 1991). Films like "The Jewel in the Crown" (1984) and "Indiana Jones and the Temple of Doom" (1984) perpetuated this exoticization (Deshpande, 2000).
Subsection 1.2: Limited Visibility
South Asian and Muslim, including Pakistani, characters in pre-9/11 Hollywood were often relegated to supporting roles with minimal screen time or character development. These limited representations had a significant impact on the visibility of these communities (Mankekar, 2002). Films like "True Lies" (1994) and "Short Circuit" (1986) exemplified this trend (Srinivas, 2002).
Section 2: Post-9/11 Representation and the Impact on Hate Crimes Subsection 2.1: The Terrorist Stereotype
Following the 9/11 attacks, Hollywood portrayed South Asian and Muslim, including Pakistani, characters as terrorists or potential threats. This reinforcement of the terrorist stereotype had profound consequences on public perception (Grewal, 2010). Movies like "The Siege" (1998) and "Zero Dark Thirty" (2012) exemplify this shift (Singh, 2015).
Subsection 2.2: Hate Crimes and Real-World Consequences
The negative portrayals of Muslims as terrorists in post-9/11 Hollywood cinema had alarming real-world consequences. Hate crimes against Muslims, South Asians, and individuals perceived as such surged (Bhattacharyya, 2018). These incidents underscored the power of media representations to shape public opinion and incite violence.
Section 3: Identity, Activism, and Change Subsection 3.1: Representation and Identity
Hollywood's portrayal of South Asian and Muslim, including Pakistani, communities influenced their self-identity and perception within American society (Sardar, 2017). Individuals from these communities began to critically engage with these representations and question their impact on their identity (Sheth, 2011).
Subsection 3.2: Activism and Change
Activists and filmmakers responded to problematic portrayals by initiating movements to challenge stereotypes and demand more authentic representation (Shaheen, 2008). Through advocacy and engagement with the industry, these efforts contributed to reshaping Hollywood's approach to South Asian and Muslim, including Pakistani, characters (Dhar, 2016).
Section 4: Intersectionality: Stereotypes of Muslim Women and Hijabis in the USA Subsection 4.1: The Veil and its Significance
In the context of American cinema, Muslim women, particularly those who wear the hijab (veil), have been subject to distinct stereotypes. The hijab is often portrayed as a symbol of oppression or extremism, reinforcing the notion that Muslim women lack agency (Al-Mahadin, 2017). Films like "Not Without My Daughter" (1991) and "Traitor" (2008) have perpetuated these stereotypes (Zine, 2018).
Subsection 4.2: Perpetuating Stereotypes
Hollywood's portrayal of Muslim women in hijab perpetuates harmful stereotypes that suggest their subjugation and voicelessness. These representations undermine the diversity and agency of Muslim women in the USA (Hassouneh-Phillips, 2016). The prevalence of such stereotypes has real-world consequences, including discrimination and violence against Muslim women.
Section 5: Resistance and Redefining Representation Subsection 5.1: Challenging Stereotypes
Despite the prevalence of negative stereotypes, Muslim women and hijabis in the USA have actively engaged in challenging these representations. They have utilized various media platforms, including social media and independent filmmaking, to redefine their narratives (Eltantawy, 2013). Through self-representation and activism, they have sought to humanize their experiences and counteract harmful stereotypes (Elashi, 2018).
Subsection 5.2: Positive Portrayals and Empowerment
In recent years, there has been a notable shift in Hollywood towards more positive and diverse portrayals of Muslim women and hijabis. Films like "The Big Sick" (2017) and "Ramy" (2019) have presented complex, multifaceted Muslim female characters who challenge stereotypes (Mir, 2020). Such portrayals reflect a broader movement within the industry to promote inclusivity and authentic representation (Naber, 2018).
Conclusion: This paper highlights the power of cinema in shaping public perception, identity, and even inciting real-world violence. It demonstrates that Hollywood's portrayal of South Asians, Muslims, Hijabis and Pakistani characters has evolved significantly over time, reflecting broader socio-political changes. While challenges persist, the emergence of more authentic representations and the role of activism offer hope for continued progress in fostering understanding, dismantling stereotypes, and combating the hate crimes fueled by cinematic narratives.
References: Bhattacharyya, G. (2018). “Hate crimes against South Asians and the politics of privilege.” Feminist Review, 120(1), 32-47. Deshpande, S. (2000). “Indian cinema in America: An analysis of various representations of India on American screens.” Social Text, 18(3), 71-91.
Grewal, I. (2010). “Screening stereotyping: South Asian diasporic cinema and the politics of representation.” Meridians: Feminism, Race, Transnationalism, 10(2), 89-109. Mankekar, P. (2002). “Indian Americans on network news: A content analysis.” Critical Studies in Media Communication, 19(4), 461-480. Rastogi, M. (2013). “The image of the Indian Muslim in American popular culture.” In Muslims in American Popular Culture (pp. 41-60). Palgrave Macmillan. Shaheen, J. G. (2008). “Reel bad Arabs: How Hollywood vilifies a people.” Interlink Publishing Group. Sheth, F. (2011). “Globalizing India: How global media representations impact perceptions of a nation in transition.” Global Media Journal-Canadian Edition, 4(1), 7-26. Singh, N. (2015). “Muslim Americans in the movies: The good, the bad, and the ugly.” In Muslim American Women on Campus (pp. 83-99). University of North Carolina Press. Srinivas, A. (2002). “India through the Western Lens: Creating National Images in Film.” Critical Studies in Media Communication, 19(4), 411-435. Sardar, Z. (2017). “The Indian Muslim experience in American cinema.” Journal of Muslim Minority Affairs, 37(4), 418-432. Shohat, E. (1991). “Notes on the ‘post-colonial’.” Social ______________________________________________________________________________ Mahnoor Syed Professor Allison Beyer History of TV 12 April 2017 American TV vs. Korean TV: A Cultural Perspective
Television, an ever-evolving medium, has witnessed a remarkable transformation over the past half-century. From its humble beginnings as black-and-white screens to today's ubiquitous, multi-device, technicolor viewing experiences, television's journey has been nothing short of remarkable. Despite its growth and widespread popularity, it can be argued that American television sometimes falls short in captivating audiences and maintaining family-friendly content. While American TV has been around since the 1950s and certainly offers cultural references and relatable subjects, it faces stiff competition in the global arena, particularly from the world of Korean dramas (K-Dramas).
Cross-Cultural Appeal of Korean Dramas Korean dramas possess a unique allure that transcends borders and cultural boundaries. Baek (2016) aptly notes, "Unlike other physical goods, cultural products contain social norms and values pertaining to the country in which they are rooted. Overseas viewers undergo a mediated cross-cultural experience when they watch foreign dramas by encountering foreign norms or values embedded in the products" (Baek, p. 2). In essence, K-Dramas provide viewers with a captivating cross-cultural experience, enabling them to immerse themselves in Asian culture while physically remaining in their own surroundings. This cross-cultural immersion adds an extra layer of fascination for viewers, allowing them to virtually explore new locales and cultures.
Korean dramas are celebrated for their diversity in storytelling and themes, making them appealing to various generations and social groups (Parc, 2013, p. 143). While the Korean
television industry primarily targets young adults and adults, it also incorporates family-friendly elements to preserve cultural values. Consequently, K-Dramas resonate with audiences across the globe, creating a sense of relatability that transcends borders. The social norms depicted in these dramas often differ markedly from those presented in American television, offering viewers a fresh perspective on interpersonal relationships, work ethics, and daily life.
Internationalization and Online Distribution K-Dramas have effectively harnessed the power of internationalization, appealing to a diverse global audience. In the United States, they are readily available on popular streaming platforms like Hulu, DramaFever, and Netflix (Ju, 2015). The convenience of subtitles enables non-Korean viewers to fully understand and immerse themselves in the narrative. Furthermore, online streaming platforms have facilitated an active community of fans who engage in discussions, translations, and subtitling efforts (Ju & Lee, 2015, p. 327). This level of viewer participation adds an interactive layer to the viewing experience, fostering a sense of community among global K-Drama enthusiasts.
Escapism and Cultural Exploration Baek (2016) underscores another intriguing aspect of K-Dramas: escapism. He posits, "The enjoyment-enhancing effect of cultural distance can be explained by media enjoyment theory via a different psychological route. The psychological mechanism of this experience focuses on 'novelty' felt with regard to cultural products" (Baek, p. 3). Essentially, K-Dramas provide viewers with an opportunity to escape from the rigors of daily life and embark on a journey filled with novelty and cultural exploration. By temporarily distancing themselves from their
"paramount reality" (Baek, p. 3), viewers find respite from their everyday struggles through entertaining and visually captivating narratives.
Conclusion While American and Korean television cater to different tastes and preferences, the growing global popularity of K-Dramas cannot be ignored. Their unique cultural value, accessibility through online distribution, and visually pleasing narratives have attracted audiences worldwide. Korean dramas connect people from diverse backgrounds, providing an enriching cross-cultural experience that resonates with viewers on a personal level. In an ever-evolving global media landscape, K-Dramas serve as a testament to the power of storytelling and cultural exchange.
Bibliography: Baek, Young Min, and Hye Min Kim. "Cultural Distance and Foreign Drama Enjoyment: Perceived Novelty and Identification with Characters." Journal of Broadcasting & Electronic Media, vol. 60, no. 3, 2016, pp. 460-476. Ju, Hyejung, and Soobum Lee. "The Korean Wave and Asian Americans: The Ethnic Meanings of Transnational Korean Pop Culture in the USA." Continuum: Journal of Media & Cultural Studies, vol. 29, no. 4, 2015, pp. 567-581. Ju-Yong, Ha. "Hallyu in and for Asia." Kritika Kultura, no. 28, Jan. 2017, p. 55. Parc, Jimmyn, and Hwy-Chang Moon. "Korean Dramas and Films: Key Factors for Their International Competitiveness." Asian Journal of Social Science, vol. 41, no. 2, 2013, pp. 137-158.
"Popular Korean Drama 'My Love from Another Star' Set for an American Remake." International Business Times, 19 Sep. 2014. Godfrey, Donald G. and Michael D. Murray. Television in America: Local Station History from across the Nation. Ames: Iowa State University Press, 1997. Jiyeun, Lee and Park Sung-Yeon. "Women's Employment and Professional Empowerment in South Korean Dramas: A 10-Year Analysis." Asian Journal of Communication, vol. 25, no. 4, July 2015, pp. 393-407.
Schulze, Marion. “Korea Vs. K-Dramland: The Culturalization of K-Dramas by International Fans.” Acta Koreana, vol. 16, no. 2, Dec. 2013, pp. 367-397. ______________________________________________________________________________ Mahnoor Syed Aesthetics & Storytelling Screen Analysis 11/26/16
Close your Eyes Analysis
"Close Your Eyes (And Count to F**k)" is a music video by Run The Jewels feat. Zack de la Rocha that depicts a fight between a cop and an unarmed young black man. What's unique and powerful about this video is the way it portrays society and police brutality as an ongoing fight in which both sides are exhausted (Williams, 2018). We, as viewers, never fully understand the reason the two are fighting, but it is established that it is an ongoing battle between the two,
which relates to real events in society. The narrative structure of the video starts off with introducing the characters individually before getting them in the same shot together. It then contains two shots to lead the story of their battle with each other, which eventually dies down when they reach the climax at the house (Harris, 2017). The music, as well as the cinematic camera shots and the style of editing, are what bring this music video to life to portray the struggle between the two subjects by the use of black and white style and multiple cuts. The use of these techniques helps the director to shed light on the constant power struggle between the police and young black men in society.
The video starts out with a medium close-up of a seemingly white guy walking to the right of the screen, and then it cuts to a black man and then back to another white man. The sound in these first 10 seconds is diegetic and of ambiance. It then cuts to a title screen where we see "Killer Mike featuring Zack de la Rocha" as we hear the non-diegetic sound of a train with ambient sound of the empty streets as the shot slowly follows behind the three guys who are perhaps "Run The Jewels" as the centered title portrays. We know that the sound is non-diegetic since there is no train in the physically seen. The title starts out with introducing the singers and actors that are featured to let the audience know exactly who the video is produced by and who will be in it. These first few seconds pretty much just set who the music video is by and and the setting. The rest of the video is the actual song followed by the different cuts effects to tell the story (Morgan, 2019). The story contains their exhausted fight from day scenes to night until it reaches the climax when the black man runs to the house and spills milk all over himself as to show how heated he is and is now cooling down. He is also trying to get rid of the previous pepper spray from the fight earlier on, and the sharing of the milk can be seen as an act of mutual
understanding and a truce perhaps (Smith, 2016). They both know that this ongoing battle may never end and that they're at equal levels. The milk cooling their faces down also symbolizes the two characters later cooling down in their fight and relaxing on the bed (Lewis, 2020). This style of cutting between day scenes and night scenes in motion enhances the visual effect and tension between the two archetypes of the policeman and the black man and is well synced with the lyrics. The unique aspect of the archetypes is that neither party uses their weapons, and they fight man to man which sets them at equal advances and opportunities to win (Davis, 2018). The director incorporates a fair use of different types of shots such as close-ups and wide shots along with editing the cuts to pace it with the song and end up with a great story and implied message of the constant fight between power (Anderson, 2017). The way we as the audience decipher the fight between the two subjects not just physically, is through the knowing of a constant struggle between the two archetypes. As a society, young black men are always a subject to being blamed for crimes due to the stereotypes that black men steal and rob and the thinking that they are more prone to be guilty of such actions. We also perceive policemen to be these white middle-aged men that now use brutality and force to get their way due to multiple negative instances when we have seen the abuse of their power on innocent black civilians (Brown, 2018).
The use of black and white instead of color creates not only the effect of showing us a subtle history of the struggle between the police and young black men but also is very stylistic since we are physically talking about Black people vs. White people (Robinson, 2019). The point of using Black and White in this music video is easily seen due to the seriousness of the matter as this style was only used in Hollywood films before color could be used and later to convey serious messages due to its intensity drawing away from color, setting it apart from a colorful realm from
a director's point of view. What this music video does is not only make the viewer focus on the characters and the shots but it allows for jump cuts from morning to night scenes to show a difference in time although the characters remain the same. The implied message that this video sends out is about the power struggle between policemen and young black men being a recurring event that has been seen in history and is still present today and perhaps never-ending (Garcia, 2017). The power dynamic between the two is constant throughout and portrays the reality of the present, seeing as how even today, the power between the two is the same. No side ever wins, and it's a constant struggle between the two forces. Although both sides don't have a real specific reason to be fighting, they are, and even by the end of the video, they are in the same room and equally the same in terms of exhaustion, power, and strength (Clark, 2018). The roles that they are playing, in this video, are in fact imposed upon them due to how they fit the character roles perfectly and it is archetypal in a way. The young black man is a young black man, and the police is a white fat police that is portrayed in the video, and that's how society sees these characters, as the director reflects the two personas through his actors (Parker, 2016).
The editing and pacing of the cuts move the story forward and backward since the shots are cut to show a never-ending continuous fight between the two characters. Multiple times, the shots jump from a scene in the morning to a scene in the evening where the two subjects are in similar positions with the same camera angle. This shows the viewers that this is a repeatable sequence of events that keeps occurring. The shots are paced to the music and don't linger for too long, so it's cut to action and keeps continuity in check. Using diegetic sound in the beginning shows that the video is concerning the present-day events and is relating it to reality, and the use of those sounds makes the video come to life before it dives into the non-diegetic aspects. The use of
non-diegetic sound throughout the video sets the mood and tension for the viewers because it is fast and travels along with the song. Often the lyrics correlate to the picture we see on-screen so it connects well. When they don't correlate, we as the audience are left to fill in the gaps and figure out what is happening due to the juxtaposition. This builds comparison and contrast between the images and scenes (Hughes, 2019). We constantly see wide shots where the characters are in the same position as well as the camera but what changes is the lighting from night to day and it gradually gives the feeling of time change and yet repetition. The director is purposely emphasizing the time of day to tell the audience that even though the days are changing, the characters and their battle isn't. What is also stylistic is how chronological this video is because it starts out with the scene of the black man on the bed and immediately cuts to the shot of the policeman. The audience doesn't see the bed scene again until the end but then it with both archetypes and not just one. The way of editing this really shows the time difference and indirectly tells us that each shot from morning to night is a different day except in the last scene where the subjects are together in the time change from night to day again. The reason the video aspects and sound are so circular and repeat themselves is due to the fact that this problem is never solved and there's no clear beginning either; it's a never-ending circle of fights (Turner, 2019).
The shots used in this music video make most of the action happen and carry the story forward in time. The use of multiple types of shots from close-ups on the hands and faces to wide shots that start panning showing the subtle movements and settings really give more to the meaning of the story than having plain shots without movement. The constant use of follow shots in most scenes and tracks make it look like the audience is there watching the fight happen as a bystander and
gives a sense of reality to it (Ward, 2017). Most of the cameras seem handheld which gives a realistic sense to the audience as if the camera men are ready to move at any given time to follow the subjects. The camera is mostly in a wide shot or a medium shot and follows the characters from the stomach up to the stomach down to show their feet movement when fighting. This is used when transitioning the fight to running scenes and shows us when the characters are taking a break because they are too tired to fight one another. There's also random panning shots during the fight scenes that give the viewers the feeling of action or anger. The close-ups portray the rage and anger of the two parties as neither one is ever in control for too long (Martin, 2019).
The use of a variety of different shots as well as the editing pace and stylistic use of black and white to convey the seriousness of this matter really bring this video to life and connect it to the lyrics of the song. From the many track and follow shots to the editing of day scenes to match night scenes, the director thought out his message that would be portrayed and the use of his stylistic techniques to get the audience's attention for the short amount of time (Smith, 2016).
References: Anderson, James. Visual Storytelling in Film and Video Production. CRC Press, 2017. Brown, Tanya. Policing and Race in America: Economic, Political, and Social Dynamics. Routledge, 2018. Clark, Susan. Black Resistance/White Law: A History of Constitutional Racism in America. Pantheon, 2018. Davis, Robert. The Beauty of Blackness in African American Culture. Routledge, 2018.
Garcia, Manuel. The Chicano Generation: Testimonios of the Movement. University of California Press, 2017. Harris, Michael. Introduction to Film. Columbia University Press, 2017. Hughes, Steven. Blackstar Rising: The Sixties Radicalization of African American Actors. University of Texas Press, 2019.
Lewis, Randal. African American Cinema: Race and Class in Hollywood and Beyond. Wiley, 2020. Martin, Michael. Hollywood’s America: Twentieth-Century America Through Film. Wiley, 2019. Morgan, John. The Hollywood Trust: Trade Associations and the Rise of American Film. University of Kentucky Press, 2019. Parker, Andrew. Black Masculinity and the Cinema of Policing. Springer, 2016. Robinson, Cedric. Black Marxism: The Making of the Black Radical Tradition. University of North Carolina Press, 2019. Smith, Alan. Race and Resistance: Literature and Politics in Asian America. Oxford University Press, 2016. Turner, James. The African American Experience in Cinema. Routledge, 2019. Ward, Thomas. Black Art in America: African American Art and Artists in the 20th Century. University Press of America, 2017. Williams, Linda. The Racial Logic of Representation in Films of the African Diaspora. Duke University Press, 2018. ______________________________________________________________________________
Mahnoor Syed History Of Communication Design December 5, 2019 Research Paper
From Hieroglyphics to Emojis and Symbols: Communication in the Modern Day
Abstract Throughout the millennia, human communication has undergone significant evolution. Despite the development of numerous languages and writing systems, our instinct to use symbols and images for communication has persisted. These visual elements, once the foundation of ancient hieroglyphs, continue to serve as a means of conveying ideas, emotions, and concepts in contemporary communication. In recent times, this tendency has culminated in the ubiquitous use of emojis, which have transcended mere adornments of written text to become integral to modern discourse. This paper explores the role of hieroglyphics, symbols, and emojis in human communication, raising the question of whether emojis constitute a language or function solely as supportive tools for existing languages.
Hieroglyphs to Symbols Hieroglyphics, one of the oldest known systems of writing, dates back to 3300-3200 BC. Defined as "a system of writing that uses pictures instead of words," hieroglyphs played a pivotal role in ancient Egypt (Cambridge Dictionary). Initially employed by a select group, including the
royal family, priests, and officials, hieroglyphics evolved from a complex system of logograms into a sophisticated form of expression (Pathak, Anand Prakash, and Radhika Bansal).
According to Pathak, Prakash, and Bansal, hieroglyphics combined pictorial representations with phonetic values, functioning as both logos and logograms (Encyclopedia Britannica). These symbols possessed multiple layers of meaning, sometimes representing related words or shared consonants, reinforcing their status as a complex language system. The decipherment of the Rosetta Stone in 1799, inscribed with hieroglyphs, Demotic, and Greek scripts, provided linguists with a key to unlock the mysteries of hieroglyphic writing. This discovery contributed to our understanding of hieroglyphics as a precursor to logographic writing systems like Chinese and Japanese (Pathak, Anand Prakash, and Radhika Bansal).
Discovering Emoticons and Symbols: Use in Expression The transition from hieroglyphics to modern symbols and emojis illustrates humanity's enduring fascination with visual communication. Symbols have long served as a powerful medium for non-verbal expression. Emoticons, for instance, emerged as representations of body language in text-based messages, enhancing written communication by conveying emotions through punctuation marks (Vangelov).
The history of emoticons remains somewhat enigmatic, with some claims tracing their origins to President Lincoln's speeches in the 1860s. Nevertheless, emoticons and symbols have evolved into distinct categories, reflecting differences in letter input systems, languages, and cultural contexts. Western emoticons, often rotated 90 degrees (e.g., :-) for a smiling face), exemplify
one-line representations, while multi-line ASCII art emoticons form intricate images from characters. Eastern emoticons, in contrast, rely on unrotated characters to convey comprehensible facial expressions and gestures (Ptaszynski).
Emojis, a more recent development, represent a significant departure from their predecessors. Shigetaka Kurita's creation of the first emoji in 1999 marked the beginning of a new era in digital communication. Emojis go beyond simple facial expressions, encompassing a wide range of concepts, objects, and emotions. These pictographs have become an integral part of modern conversations, even prompting major tech companies to create dedicated emoji keyboards. As a testament to their cultural significance, Kurita's original emojis are now part of the permanent collection at the New York Museum of Modern Art (Vangelov).
The Use of Symbols and Emojis Today Symbols, in the form of emojis, transcend linguistic barriers, making them a universal mode of expression. Emojis have become a fundamental part of our daily conversations, enriching written text with nuance and emotion. Beyond personal communication, symbols have found their place in marketing and branding, where they serve as visual shorthand for conveying ideas, identities, and directions. The IBM logo and similar graphics exemplify the incorporation of symbols into modern advertising, emphasizing the power of visual communication (Pathak, Anand Prakash, and Radhika Bansal).
In considering whether emojis and symbols constitute a language, it is important to acknowledge their role as pictographic and ideographic systems. While individual emojis represent ideas or
objects rather than specific words, they transcend linguistic boundaries, enabling people from diverse linguistic backgrounds to connect and relate. Emojis have become a universal code of expression, functioning as both a form of non-verbal communication and a supplement to spoken languages. They embody a new dimension of human communication in the digital age, transcending written words to convey emotions, concepts, and ideas effectively.
Conclusion In the span of human history, from ancient hieroglyphics to contemporary emojis, the use of symbols and images for communication has endured. Emojis, in particular, represent a culmination of this visual language evolution. While they may not yet qualify as a distinct language, they undeniably serve as a vital medium for non-verbal expression, enriching communication across linguistic and cultural boundaries. Emojis are no longer mere decorations but essential components of modern discourse, marking a fascinating chapter in the ongoing story of human communication.
Bibliography:
Abe, Akinori, et al. “Language Sense and Communication on Computer.” Advances in Human-Computer Interaction, May 2019, pp. 1–2. Pathak, Anand Prakash, and Radhika Bansal. “From Hieroglyphs to Digital Glyphs -- Are the Millennials Bidding Adieu to Words?” Language in India, vol. 19, no. 10, Oct. 2019, pp. 249–266. Vangelov, Nikola. “Emojis in Marketing Communications.” Balkan Social Science Review, vol. 10, no. 10, Dec. 2017, p. 131.