Tags: gender, sex/sexuality, violence, gender binary, Native American culture, third gender, two-spirit people, 61+ mins
Year: 2009
Length: 65:00
Access: PBS (includes Trailer; Clip 1; Clip 2; Clip 3)

Summary: This documentary from PBS's Independent Lens series centers on the story of Fred Martinez, "a boy who was also a girl" who was murdered as a teenager, making him "one of the youngest hate-crime victims in modern history." The film explores non-binary gender traditions or "two-spirit people" in the indigenous cultures of North America. As explained here, "Most tribes were aware of the existence of two-spirit people, and many still have a name in their traditional language for them. For example, The Din éh (Navaho) refer to them as nàdleehé or one who is 'transformed', the Lakota (Sioux) as winkte, the Mohave as alyha, the Zuni as lhamana, the Omaha as mexoga, the Aleut and Kodiak as achnucek, the Zapotec as ira' muxe, the Cheyenne as he man eh, etc. (Roscoe, 1988). Some tribes had different names for two-spirited men and women." Several short clips from the film are available from PBS. I use Clip 1 (2:24) to help students think beyond the gender binary of contemporary American society. PBS's website for the film offers some educational resources, including a map of gender-diverse cultures across the globe. For additional information about the film and how to purchase it, click here.

Submitted By: Michelle Sandhoff

Tags: abortion/reproduction, demography/population, gender, marriage/family, violence, domestic violence, gendercide, india, infanticide, patriarchy, sex ratio, subtitles/CC, 61+ mins
Year: 2012
Length: 64:29
Access: YouTube

Summary: The cultural preference for sons in India and China is well known and widely discussed, and demographers observe that both countries have distorted sex ratios, due in part to a rise in sex selective abortions since the 1980s. According to estimates based on census and sample registration data, in mainland China the sex ratio stood at 120.6 boys per 100 girls in 2008, while it stood at 110.6 boys per 100 girls in India for 2006-2008. In some Chinese provinces and Indian states, the ratios are even higher than these national-level estimates. For instance, in Jiangxi, Anhui and Shaanxi provinces in China the sex ratios are 137.1, 132.2 and 132.1, respectively, and in India's northern states of Punjab, Haryana and Rajasthan, the sex ratios are 119.6, 118 and 114.9, respectively. This video is from the Indian television talk show Satyamev Jayate and takes on the issue of sex selective abortions in India. The video can be used to supplement discussions on distorted sex ratios. In particular, it can be used to highlight the domestic violence that often accompanies the preference for sons but tends to be neglected in the demographic literature, given its tendency to focus exclusively on numbers and trends. From about the 6:10 mark to about 19:30 minutes, the audience hears the testimony of two women who were coerced into having sex selective abortions and have faced considerable harassment from their husbands and in-laws for their failure to have sons. Instructors can further use the video to begin a discussion about how the problem of imbalanced sex ratios can be addressed. Since patriarchal notions that men are more valuable than women underlie the trend toward coerced sex selective abortion, a truly systemic approach will likely include an attempt to dismantle patriarchy itself.

Submitted By: Manjistha Banerji

Tags: children/youth, education, media, science/technology, social problems, subtitles/CC, 61+ mins
Year: 2009
Length: 90:00
Access: Frontline

Summary: This PBS special challenges the advertising image of technology as always "progress" or a "solution" to contemporary problems. Instead, this series of short topics highlights how technology has actually created a whole host of its own social problems related to digital over-saturation. This video is paired well with Kenneth Gergen's "The Saturated Self," or other readings that deal with how technology has changed our daily lives in very powerful ways. It can also be used to encourage students to disconnect when reading or writing for classes in that the video presents research that indicates that multitasking makes us dumber. I have found that students have strong (often defensive) reactions to this video, so I also make time for classroom discussion, or I assign a reaction paper.
 
Submitted By: Michelle Smirnova

Tags: capitalism, historical sociology, inequality, marriage/family, race/ethnicity, racism, slavery, white privilege, 61+ mins 
Year: 2008
Length: 86:00
Access: Netflix (trailer here)

Summary: This full-length documentary follows a family's journey—headed by family member/filmmaker Katrina Browne—through the Triangle Trade between Rhode Island, West Africa, and Cuba. In doing so, family members begin to recognize how their White privilege is directly tied to enslavement of Africans by their ancestors. The film is useful for the classroom in four ways: 1) it provides a history lesson of the Triangle Trade, demonstrating how the American North was/is as culpable in the enslavement of Africans as the South, 2) it demonstrates the direct tie between New World/American capitalism and its survival to the slave trade, 3) it slowly reveals the consciousness-raising of privileged White folks as they understand how their privilege is directly tied to slavery and racism, and 4) it demonstrates the awkward yet necessary dialogues and discussions White people need to have about U.S. history and racism. I like to use this film as a companion to Tim Wise's talk "The Pathology of White Privilege." After my students watch Traces of the Trade and Wise's talk, we discuss how contemporary White privilege is directly tied to the conception of our nation, the contradictions and paradoxes of capitalism and democracy, and their own embodied and/or witnessed experiences of White privilege. The film's website includes purchasing information and teaching materials. Another great companion piece to Browne's documentary is the book Inheriting the Trade. Written by Browne's relative Thomas DeWolf, the book more deeply documents the family's physical and social psychological journey.

Submitted By: Beverly M. Pratt

Tags: capitalism, class, inequality, intersectionality, knowledge, marx/marxism, alienation, working poor, 61+ mins
Year: 2009
Length: 70:00
Access: Netflix (trailer here)

Summary: This film follows custodial staff at several U.S. colleges/universities, documenting the workers' daily lives on and off campus. The documentarians interview each person, attempting to understand their personal biographies, their daily experiences as a custodian, and their philosophies on life, love, religion, etc. This film can be used instructively in the following ways: 1) in a lecture on class, inequality, the working poor, or Marx's concept of alienation, 2) as a tool to highlight the experiences of people extremely close in proximity to students, as custodial staff are often ignored by undergraduates and other members of college/university campuses; this is also a great time to introduce campus-led initiatives such as the Harvard Living Wage Campaign, 3) as a tool to understand intersectionality, and how the intersecting identities of the custodial staff result in certain material inequalities, and 4) in class discussions about the social construction of knowledge, as the custodial staff offer epistemological perspectives rooted in unique social locations and life histories; the juxtaposition between the knowledge articulated by the custodial staff and the knowledge-producing institutions in which they work, as well as the quotes by well-known philosophers interwoven between segments, offers a very fruitful site for analysis.

Submitted By: Beverly M. Pratt

_Tags: bodies, gender, lgbtq, sex/sexuality, identity, lesbian, masculinity, transgender, 11 to 20 mins, 61+ mins
Year: 2005
Length: 13:58 (entire documentary is 75:00)
Access: YouTube

Summary: The Aggressives is a documentary "look at the lesbian women who prefer to dress and act as men and who participate in NYC's predominantly African-American lesbian drag balls." Viewers may explore issues of identity, gender, and sexuality with this group of lesbians that identify as butch/stud "aggressives," and adopt a very masculine gender. Part of this excerpt shows the daily practices to portray a masculine physique, including constantly working out to build muscle tone, grinding their teeth in order to have a strong masculine jaw line, taking hormone pills to grow facial hair and other mail traits to reduce feminine features and using duct tape, ace bandage and girdles to tape/hold down their breasts so they are less visible. As the respondents discuss their identity, this excerpt also explores what it means to be a man or woman, illustrating West and Zimmerman's concept of "doing gender." The women in the documentary are constantly fighting against societal constraints of a gendered female norm. This highly provocative excerpt can be a great discussion starter on issues of gender and sexuality, but the film more generally also examines issues of race.

Submitted By: Jasmine Jowers and Rachele Macarthy

Tags: discourse/language, inequality, knowledge, media, race/ethnicity, social mvmts/social change/resistance, genocide, media literacy, racism, representation, stereotypes, 61+ mins
Year: 2009
Length: 88:00
Access: Netflix; YouTube (trailer; clip 1; clip 2; clip 3)

Summary: Reel Injun explores the role Hollywood cinema has played in shaping the image of First Nations People. Starting with the silent film era, director Neil Diamond argues that "the Indian" first appeared in cinema as noble and dignified, but by the 1930s, classic westerns like, They Died with their Boots on, catalyzed the emergence of negative stereotypes. The Indian was newly imagined as treacherous, and Hollywood narratives began featuring white settler protagonists in their stagecoaches fending off attacks from the Indian hordes. Just as Indian characters in film became increasingly based on this one dimensional stereotype, native people were also losing the ability to play Indian roles. Instead, productions cast white actors, like Burt Lancaster, Charles Bronson, and Elvis Presley in Indian roles and even sprayed them with a toning agent to help them look the part. By the 1960s, films like Little Big Man, One Flew Over the Cuckoo's Nest, and later, Dances with Wolves, introduced more complicated depictions of native people; however, dominant narratives still tracked the imperiled white heroes in their proverbial stagecoaches (see also our clip "Avatar Remix and Representations of the Other"). Not until the renaissance in native cinema did films like Once we Were Warriors and Smoke Signals portray native people as fully realized human beings and protagonists in their own right. In the documentary's conclusion, Lakota activist and poet, John Trudell, suggests that there has been a sustained effort to vanquish native people through war and violence and to erase or subsume their history. Attention to how native people have been represented in film suggests too that Hollywood has played a vital role in this genocidal project through its representations of the Indian in film. These persistent depictions of the Indian as treacherous, barbaric, and peripheral have worked to strip native people of their humanity. And those who lack humanity are easier to vanquish.

Note that this documentary film would work nicely with another clip on The Sociological Cinema (here) that explores issues surrounding the representation and First Nations People in cinema and takes up the question, "Who has the right to represent whom?"

Submitted By: Lester Andrist

Tags: bodies, children/youth, consumption/consumerism, discourse/language, gender, inequality, marketing/brands, media, political economy, sex/sexuality, social construction, violence, feminism, media literacy, representation, self-objectification, sexism, sexual objectification, stereotypes, symbolic annihilation, 06 to 10 mins, 61+ mins
Year: 2011
Length: 90:00, 8:52
Access: no online access, Vimeo preview

Summary: Jennifer Siebel Newsom directs this documentary, and following in the steps of the Killing Us Softly films, it draws attention to the very problematic ways women and girls are represented in contemporary media. To tell the story, Newsom weaves together a number of interviews from an array of experts and activists, including Erika Falk, Jennifer Pozner, Jean Kilbourne, Condoleezza Rice, Nancy Pelosi, Cory Booker, Katie Couric, Rachel Maddow, Margaret Cho, Rosario Dawson and Gloria Steinem. The dominant themes of Miss Representation can be described as the consequences of living in a world where one is virtually swimming in representations which consistently emphasize an unattainable beauty standard for women, and in a separate vein, encourage routine violence against women. In this environment, women increasingly self-objectify, they suffer from increased levels of anxiety and depression, a lack of political efficacy, and men increasingly perpetrate violence against women. Despite similarities, Newsom takes her film further than Jean Kilbourne's documentary, Killing Us Softly 4, by exploring more of the political economy behind these harmful representations. Specifically, she explores the large scale entrance of American women into the paid labor force during World War II as a watershed event (see also The Life and Times of Rosie the Riveter). In Newsom's retelling of this story, once men returned to from fighting abroad, the media played a central role in encouraging women to surrender their high-paying jobs back to men in order to become domestic consumers in the brave new post-war economy. Today the marketing of corporations are regulated even less by Congress, and their ads continue to target women; they objectify them as part of a strategy aimed at creating ever more insatiable consumers.

Submitted By: Lester Andrist

Tags: art/music, discourse/language, knowledge, media, advertising, art history, culture, feminism, film studies, media literacy, representation, semiotics, sociology of culture, walter benjamin, subtitles/CC, 61+ mins
Year: 1972
Length:  120:00
Access: YouTube (Episode 1: part 1; part 2; part 3; part 4)
                                  (Episode 2: part 1; part 2; part 3; part 4)
                                  (Episode 3: part 1; part 2; part 3; part 4)
                                  (Episode 4: part 1; part 2; part 3; part 4)

Summary: This classic BBC miniseries, narrated by John Berger, critically examines Western visual culture from the Renaissance to today (or at least 1972). Together, four episodes focus on the role of context in creating meaning, the male gaze, and the different functions of depictions of wealth in early modern and late modern imagery. In episode 1, Berger remarks on the way meanings and interpretations of paintings and photographs can vary depending on context. For instance, the way in which a viewer sees an image can change depending on how the viewer confronts the image. In episode 2, Berger draws on paintings and photography to explore his thesis that Western culture is one in which "Men look at Women," and "Women watch themselves being looked at," thus locating the nude in Western art as an objectification of women. In episodes 3 and 4, Berger argues that oil painting was a medium, which celebrated the privileged lifestyle of European aristocrats. If oil painting was developed to represent the texture and tangibility of objects, then color photography serves a similar function today and is carried forward in the work of advertisers. Clips from Ways of Seeing can be used as an effective way to introduce students to the study of semiotics, and more broadly, the sociology of culture.   

Submitted By: Matt

Tags: crime/law/deviance, durkheim, gender, theory, anomie, family, in-groups, out-groups, social change, subtitles/CC, 61+ mins
Year: 1998
Length: 124:00
Access: no online access (trailer here)

Summary: The film Pleasantville depicts an idyllic 1950's community that experiences profound challenges to its unquestioned, taken-for-granted social norms. The movie works well in an introductory sociology class as an allegory about a settled or stable society that undergoes rapid social change following a major disruption in the worldview and widespread norm breaching. Specifically, the film depicts challenges related to the use of language, modes of communication, family formation, sexual norms, social deviance, art, and media. I recommend using the film in its entirety to demonstrate how in-groups resist change, while out-groups often challenge norms and produce positive (or negative) adaptations to society. One could also use segments of the film to demonstrate concepts like alienation, anomie, and deviance.


Submitted By: Michael Gillespie