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."
A discussion regarding strategic management in different organizations, focusing on the Robin Hood Case Study as an example of successful strategic management techniques.
Abstract This paper takes a look at the Robin Hood Case Study to provide an example of how strategic management can affect an organization's mission, vision, future and overall success. This paper analyzes Robin Hood's organizational strategy, mission and vision in the context of strategic management, and offers a path of strategic management for Robin and the Merrymen to follow that will ensure their organization's success.
Outline:
Introduction
Organizational Structure of Robin Hood and his Merrymen
Motivation and Equity Theory as applied to the Merrymen
A Brief Overview of the Merrymen's Mission
New Strategy for the Merrymen's Organization
Changing Market Conditions
The Establishment of a Fixed Transit Tax
A New Vision for Robin Hood and the Merrymen
Conclusion
From the Paper "Goals setting theories argue that organization members set goals and that organizations can influence work behavior by influencing these goals. The major concepts in the theory are intentions, performance standards, goal acceptance, and the effort expended. These concepts are assumed to be the motivation. Individual goal setting should be more effective than group goals because it is the impact of goals on intentions that is important. In goal-setting theory the crucial factor is the goal. The ultimate goal of the Merrymen is to set King Richard free, and to continue to serve the farmers and townspeople through the inconvenience of the rich. Although the incentive or reward may affect goal acceptance and commitment, neither is the critical element. Tests of the theory show that using goals leads to higher performance than situations without goals, and that difficult goals lead to better performance than easy ones. In this case, the Merrymen are faced with a difficult goal because they are acting outside of the law of Prince John. Strategic management research indicates that although participation in goal setting may increase satisfaction, it does not always lead to higher performance. Difficult, accepted, specific goals combined with feedback and rewards for goal attainment should result in highly motivated members. What this means is that Robin Hood, as the leader of the Merrymen, must provide his followers with positive feedback and encouragement."
Abstract This paper takes a look at the case study of Robin Hood by using the Value Driven Management Model. The Value Driven Management Model analyzes eight drivers, which include External Culture, Organizational Culture, Individual Employee, Customer, Supplier, Third-party, Owner, and Competitor. The Robin Hood case study utilizes several of these value drivers, including Organizational Culture, Individual Employee, Customer, Owner, Third-party, and Competitor.
From the Paper "Robin's idea of organizational culture involved his merrymen to follow his vision of vengeance for the sheriff and his vision did not have a clear strategic plan for conquering the sheriff. He believed that strength lay in numbers so that quantity, not quality had a dramatic effect on his mission. He did not know if his men had the same vision he did. He was uncertain of his progress with the campaign, the disposition of his forces, recent moves, and options that confronted him. He did not comprehend how the impact of his decisions would affect his band. Decisions made or actions taken that run counter to the internal culture of an organization, may, depending upon their magnitude, seriously decrease value over time (Pohlman, 2000)."
Abstract This paper explains that there have been numerous ?Robin Hood? movies, but the 1938 version created a new standard for the swashbuckling genre against which to judge various versions of Robin Hood legend. The author points out that character of Maid Marian, the love interest of Robin Hood, has undergone many modifications and enhancements over the years, being portrayed either as a meek and timid member of the royal family or as a strong and royal woman. The paper demonstrates that, in 1938 version of the film, Maid Marian was portrayed as strong-willed woman with a regal attitude, responsible for Robin's rescue at a critical point in the movie.
From the Paper "This dialogue indicates that Marian was portrayed as a woman with a mind of her own who didn"t want others to make decisions for her. Unlike the 1922 version in which Maid Marian didn"t even know what her role was in the movie; Enid Bennett, who played the part later recalled, in this version, Havilland knew where she stood in the movie and that is what gave her character strength and meaning. This is how one writer presents the view of Bennett on her role in 1922 version of the film: ?Lady Marian Fitzwalter (Enid Bennett) served as Robin Hood's romantic interest and is rescued by Robin Hood in time to end the film in his arms. As Bennett noted years later, she did not have much to do, or know exactly what she was supposed to be doing, but she did enjoy doing it.? "
Tags: medieval, swashbuckle, modifications, royal, royal
Abstract The paper shows how "Little Red Riding Hood" began as a story about female triumph and heroism, but has been transformed over the years by male authorship and the influence of male dominated societal values into a lesson in female obedience. The paper discusses the origin of "Little Red Riding Hood" as "Oral Conte de la mere-grand" and its subsequent publishing by Charles Perrault in his "Le Petit Chaperon Rouge," that painted a picture of how women were viewed during the 17th century. The paper then focuses on Joseph and Wilhelm Grimm's "Le Petit Chaperon Rouge" that offered a patriarchal lesson in female obedience. In addition, the paper looks at Anne Sexton's "Red Riding Hood" that is in contrast to the patriarchal morals of its predecessors, but still does nothing to directly empower female readers while Angela Carter's "The Company of Wolves," is an improvement but is not perfect. The paper asserts that women need an example to look toward and little girls need something concretely, female to lead the tale and teach the story of a woman's ability to thrive in a world of hungry wolves.
From the Paper "By the time they are old enough to read, almost all little girls across the globe have heard the story of "Little Red Riding Hood" in one form or another. Most likely they have been exposed to either a tale from the Mother Goose collection, written by Charles Perrault or the version written by Joseph and Wilhelm Grimm. It is unfortunate that as they are read these traditional cautionary tales, they remain unaware of the "education" being drilled into their young minds. The values learned from classic fairy tales, which are the training wheels of literature, reflect a patriarchal society that indoctrinates women with a victim mentality. Even more unfortunate than the accidental installation of ancient male values is the ignorance about the good stuff that Mother Goose left out."
Abstract The paper relates how beginning in the 1970s, citizens in poor school districts filed legal challenges to Texas' public education financing system, arguing that relying on property taxes for school funding gave wealthier districts an unfair advantage in educating their children. The Robin Hood Act was created, therefore, to distribute property taxes from wealthy districts to the poor districts. The paper reveals that the Act has succeeded in bringing the property wealth of wealthy districts down but has had less success in bringing the wealth of poor districts up. The paper discusses how the many complaints end in pledges to do away with the system. Nevertheless, political, economic and social forces in Texas make the death of Robin Hood not very feasible, at least in the short-term.
From the Paper "As a citizen and Texas homeowner, I am against the Robin Hood Act. The Act has resulted in my property taxes increasing without offering my children the benefits of those increases. The increases, as well as part of the base property taxes, are in use outside of my area and are in use in other school districts throughout the State."
"I think the Robin Hood Act is an ineffective way to fund schools because under the plan, local property taxes are the primary basis of funds for the 1,036 Texas school districts with the intention of levying a property tax. In 1999-2000, local taxes made up an additional 50 percent of school district revenues. The significant variation in school districts' taxable property results in a large gap between low-wealth and high-wealth school districts' ability to raise local funds for financing educational costs."
Tags: property, tax, funds, wealthy, poor, district
Abstract This paper is an on the narrative transformations of 'Little Red Riding Hood'. This paper will begin with a general overview of the story in question, and proceed to examine the particular changes that this story has undergone.
Abstract This paper will discuss the book "Race in the Hood" by Howard Pinderhughes, and seek to study the underlying thesis of the information within it. By realizing the sociological implications of social youth groups in New York City, we can make an analysis of the way that this author approaches this idea. In making the book clearer, there can created the notion of city comparisons that equate Pinderhughes study, as well as my own reaction to how he went about doing this.
Abstract This paper explores the spiritual disease that Don Sharp illuminates in "Under the Hood". This disease is a narrowness of spirit, which is reflected in a disease of vision - an inability to discern true reality.
Abstract The paper states that stories have been part of culture from the very beginning of human development and that over time, fables and fairy tales have continued to be integrated into everyday life. The paper also relates that scholars disagree on the primary reason why these tales have remained so important in modern times. The paper then questions if fables and fairy tales are just a means to provide information or entertainment with no hidden agenda or, is their purpose to encourage societal mores or intended to help individuals deal with their hidden psychological dilemmas? The paper uses the story "Little Red Riding Hood" to demonstrate these different interpretations.
From the Paper '' Some stories go even further and make Little Red Riding Hood do the victimizing. Roald Dahl's character pulls a gun out and shoots the wolf to replace her silly cloak and hood with a "lovely furry wolfskin coat" (Zipes et. al 359). Philippe Dumas's "Little Navy Blue Riding Hood" includes a very determined and self-confident girl who is jealous of her famous grandmother, the "ex-Little Red Riding Hood." Little Navy Blue Riding Hood frees the wolf in order to revive the old story and become well-known like her grandmother. However, this wolf, the great-great-nephew of Perrault's wolf, avoids "like the plague anything that resembled a riding hood, no matter what color it was, even if it came from Galeries Lafayette, and especially worn by a little girl" (Dumas 19-20). Believing that her grandmother is the wolf, Little Navy Blue takes the confused old lady to the zoo at knifepoint and locks her in the wolf's cage. Little Navy Blue Riding Hood becomes notorious with all the media attention and the outcry against the little girl who had previously seemed to be "so well-behaved and obedient."
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.
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."
