Abstract This paper discusses how "Boyz N the Hood" (1991) is a film that attempts to speak truth to power, and counteract some of the negative stereotypes of young black men in Hollywood films. It looks at how, instead of ignoring the plague of violence and hopelessness in the inner cities of America, the film takes these stereotypes on and attempts to render the difficulties and challenges of the African-American experience with dignity and hope.
From the Paper "The title frame statistic also politicizes the representations of the characters in the film. These characters are not simply individuals enduring their own psychological turmoil rather the struggles the characters face are endemic to a larger social condition in America. It is often considered dismissive to say that someone is merely a statistic. But these young men are potentially statistics, the film suggests, and that is not a reduction of their plight, rather it is a claim for the film's relevance beyond its duration on a screen. The film is a call to action. Whether the characters go to college, care for their children, or end up in the gutter is not merely 'their' business, or an interesting plot twist, their lives and by extension black lives in the hood are something that is vitally important for all Americans, particularly black Americans to care about and change. "
An analaysis of the social and delinquency theories that can be used to explain the actions of the main characters in John Singleton's film, "Boyz in the Hood."
Abstract This paper describes John Singleton's film, "Boyz in the Hood" as one of the most disturbing American films of the last quarter-century. It discusses the plot of the film and the loose sexual mores and gang life of the neighborhood portrayed in the film. The paper then analyzes several social and delinquency theories that can be advanced to explain the actions of the main characters in the film.
From the Paper "In the end, there is little question that several delinquency and/or social theories can explain why the 'hood is such an awful place for its inhabitants - and such a hard place from which to escape. In this writer's view, the social strain theory precipitates the other two theories insofar as a lack of opportunity and the desperate struggle to survive in harsh conditions inevitably compels people to do whatever they have to do to survive. At the same time, Singleton places a lot of emphasis upon fathers and suggests that Tre learned to stay out of trouble because of his father's stern guidance. In the end, it is hard to conclude that any one of the theories is the sole reason for neighborhoods like those found in South LA; after a careful review, all three have complementary dimensions as well as over-lapping ones. In any event, the film is a troubling look at what can happen when communities collapse as a result of social pathologies."
Abstract This paper reviews, compares and contrasts the 1991 film "Boyz N the Hood", directed by John Singleton and the 1995 Nick Gomez film, "New Jersey Drive". The paper begins by summarizing the themes of "Boyz": the often unspoken battles between Afro-Centrism and assimilation; between action and resignation; between scholars and gangsters. According to the paper, Singleton's formula was so successful that it spawned dozens of similar films, including Gomez's "New Jersey Drive." The paper compares and contrasts each movie's treatment of racism and the struggle for the black characters in -- and against -- a white-dominated society. The paper also explores how each film treats the issues of urbanization and gang affiliation.
From the Paper "New Jersey Drive" is far less subtle in its definitions of "oppressor" and "other." Nearly all the police officers in the film are white, and many display overtly violent and racist tactics toward the black youths on which the film focuses, One exception is a black officer who, when asked if he knows a young prisoner's identity, ironically replies with a staple racist remark; "Who knows... I can't tell them apart." Clearly, in the ghetto Nick Gomez paints, racism and white supremacy are the root causes of tension. In "Boyz N the Hood," the tension (while still palatable) is less racial, and more ideological. Returning to the classroom scene, one young, black student responds to Tre's Afrocentric lesson on the origins of Man by quipping, "I ain't from Africa, I'm from Crenshaw Mafia." This simple statement sets up one of the films most prevalent themes; the tension, the direct opposition between racial identity (Afrocentrism), and loss of that identity (gang affiliation) (Boyd, 347)."
Abstract The writer analyzes the film and the methods used by the filmmaker to subtly introduce ideology into the plot and character development. The paper claims that although the work is strong in its message, the viewer is still left to make up his or her mind about what has been seen. The paper gives examples from the plot that illustrate this claim.
From the Paper "The 'hood of the title is the neighborhood in which young Tre Styles grows up, a neighborhood in South-Central Los Angeles. The script covers about seven years in the boy's life, beginning in the mid-1980s. The problems of urban crime in black neighborhoods is evoked in the title cards at the beginning emphasizing how many young black males are murdered and the fact that most are murdered by other young black males. Tre is the central character, and also important are his two friends, the brothers Ricky and Doughboy. Tre is 10 years old when his mother decides that he needs a man's influence, so she hands him over to her ex-husband, Furious Styles. She hopes that the father will be able to teach the boy what he needs to know to be a man and to resist the forces in the neighborhood which push boys the wrong way. Furious does try to be a good father, and he plays ball with the boy, takes him on long walks, talks to him, and offers him lessons in life. The father is somewhat stern, but he is also loving and reasonable."
Abstract This essay is a discussion of three films: Slacker, Boyz N The Hood and Clueless as a genre of youth films. It considers their similarities and differences, how the form of each film influences its meaning, and what these films attempt to say about social relations (e.g. class, race, gender) in the U.S. in the 1990s.
This paper reviews Elijah Anderson's "Code of the Street," which details the film industry's common practice of glorifying gangs and low income minority communities as well as the news and media's tendency to shine a totally different light on this issue.
Abstract This paper explores Elijah Anderson's book "Code of the Street" which details the manner in which popular culture glamorizes gangster life while the news media depicts urban slums as being overrun with violent criminals. In his book Anderson explains that there is in fact an intricate culture to life in poor minority communities. The author contends that this "code," or way of life, encompasses ideas regarding the manner in which families interact among themselves. This "code" is the result of the structural circumstances and cultural adaptations made by the people who live in these violent communities. In the context of Anderson's book, these structural circumstances are the situations individuals become involved in due to their place in society. This paper also discusses the film "Boyz N the Hood" which exemplifies and provides support for Anderson's theories. The film, designed to create awareness about life in violent communities, offers several significant scenes which are analyzed in this paper.
Table of Contents:
Introduction
Significant Events in "Boyz N the Hood"
The Film's Events as They Apply to Anderson's Book
Conclusion
From the Paper "The "code" is the result of the structural circumstances and cultural adaptations made by the people who live in these violent communities. In the context of Anderson's book, structural circumstances are the situations individuals become involved in due to their place in society. An example of a structural circumstance would be the life of a decent single mother. Without the structure of a nuclear family, who become role models in the community the single mother "must work even harder to neutralize the draw of the street, and she does so mainly be being strict and by instilling decent values in her children. Cultural adaptations are the way they alter their behavior in order to survive in particular situations or environments. For example, decent families will often have to "code-switch" which means they may have to behave in a violent or vulgar street manner instead of the decent, respectful manner in which they have been taught in order to survive a situation."
Tags: film, minority, culture, society, violence, media
Abstract The paper reviews the documentary, "Tough Guise" by J. Katz on the crisis of America's notion of masculinity. The paper discusses Katz's point that television and movie audience members are not passive recipients to the text and visuals, but instead incorporate what they see and hear into their own lives and social situations in many different ways. It shows how the effects of media and television manifest themselves in a multitude of anti-social behaviors, including the rise of hegemonic masculinity and violence in young and teenage boys.
From the Paper "As an agent of socialization in today's society, movies play a very large role in sculpting the thoughts, opinions, and actions of children and young adults. Most movies portray men as strong, dominant, intimidating, independent, respected and in control. By doing this, we as a society are reinforcing in boys that violence is conceived to be a normal part of being men and is admired."
Examines the image of California as portrayed in films such as "Grapes of Wrath", "La Story" and "Boyz N the Hood" which seem to present California as either a paradise or a dystopic nightmare.
675 words (approx. 2.7 pages), 0 sources, 2001, $ 23.95
From the Paper "The image of California as a paradise is rightly questioned by Julian Marais. California seems to many outsiders to be a paradise in terms of personal freedom, labor opportunities, and climate. This is an image of California often found in films which present a constantly warm and sunny climate, and beaches populated by healthy, carefree young people. However, there are movies which present a darker and more realistic side of California, which portray problems from crime and social unrest to natural disasters.
Those who believe in the paradise-like image of California flock to the state seeking the "absence of limitation" they see on behavior and opportunity, and the supposed "lack of difficulty" inherent in California living. Yet clearly Californians face many of the same problems found in other parts of the ..."
Abstract This paper explains that the problem with rap music is that it perpetuates the worst of both black and white America by divorcing itself from its musical roots and presenting America in a negative light. The author believes that rap music is impure at its core because the more rappers thrive in the multinational market, which has left so much of their audience behind, the richer they get and are farther removed from the "boyz in the 'hood". The paper concludes that rap music does nothing to heal a world full of woe; whereas, both of its predecessors in musical genres, gospel and rhythm and blues, do this.
From the Paper "The situations that give rise to rap music are not new; there is nothing new about young black men feeling (and arguably being, in large part) disenfranchised from the mainstream society of either culture, black or white. What is new, in fact, is not the condition of the culture, but the reaction of the musician. While music before rap was meant to carry people through a bad time and out the other side, rap seems to be meant to carry people deeper and deeper into hopelessness and despair."
Abstract In this article, the writer points out that the future of society depends on our children's achievement today. However, the writer notes that some children do not get the opportunities they need in order to achieve success. Further, the writer discusses that a disorderly environment is not conducive to good citizenship, good health, or emotional balance.
Looking at the film "Boyz in the Hood', the writer notes that typically, society responds to the problems of youth by constructing some sort of program to meet the individual problem (such as teen pregnancy or gang involvement).
From the Paper "Such programs may have limited value, however, because they simply treat the problem and not the whole person. Society itself doesn't change. Moreover, children "at risk" are more than their problems--they are whole human beings with infinite potential. They need adults to believe in their potential and not treat them as though their problems were all that is important about them. A child like Darrin in the film whose mother hates him for some reason and who has no father to show him how to be a man is not simply vulnerable to gang membership and delinquency. His whole situation--his lovelessness and the ugliness of his environment--needs to be addressed."
