Tags: art/music, culture, inequality, cinema, drugs, mexico, war on drugs, subtitles/cc, 21 to 60 mins
Year: 2011
Length: 23:17
Access: YouTube

Summary:  Film has always been a reflection of our society, and this exploration of Mexican cinema is a reflection of drugs, culture, and inequality in contemporary Mexico. First, it is an interesting look at how art imitates life and life imitates art. Given the huge role of drug trafficking in Mexico today, the video documents the large film industry built around dramatizing these conflicts. Some of the actors and directors discuss working with drug traffickers in producing some of the films, and the danger of not discussing their relationship in order to stay alive. At the 12:40 mark, the video examines how the music, or corridos, act as a living testimony of narco lore, which in turn, continues the legend that gives birth to more Narco Cinema. Furthermore, this genre of film in Mexico has influenced clothing, home, and car purchases. Although the same could be said for U.S. films (and how they act as catalyst for sub-cultures), in Mexico, these films have given birth to the ideals of building and living a lifestyle to reflect that of narco culture. Second, a more subtle message in the video is about the relationship between drug culture and inequality. The films are very popular among low-income and rural Mexicans for both economic and cultural reasons. Narco cinema are relatively cheaply made "B-movies" (often written, produced, and completed in less than a month) that go straight to DVD and are much more affordable for everyday Mexicans. Therefore, they have a wider audience than the more expensive feature films (only 18% of Mexicans can afford to see movies in a theater). The films also appeal to impoverished Mexicans (especially males) or those struggling to get by in the US. Drug traffickers are often portrayed as "Robin Hood" type characters who help out their hometowns and families. The drug traffickers themselves are usually people that come from rural poverty, and those who become successful in the drug business are often celebrated within the films (the video also notes the rumors that some of the films are financed by drug cartels). But as the narrator notes, while drugs and drug culture are often glamorized, the reality of drug trafficking is the uncontrollable levels of violence and death that come as a result of the drug wars. For example, Mexico experienced 5,630 Narco-related "execution murders" in 2008. American viewers might also consider the role of the US and US-Mexico relations in this process. The film ends with the narrator adding "as long as there is a huge demand for drugs in America, there's going to be blood, drugs, and these kinds of movies flowing out of Mexico." Finally, while gender is never discussed in the video, sociologists have much to think about in terms of the role of gender in both Narco Cinema and the production of this video.

Submitted By: JD Villanueva

Tags: art/music, intersectionality, lgbtq, prejudice/discrimination, race/ethnicity, sex/sexuality, 00 to 05 mins
Year: 2012
Length: 4:12
Access: YouTube

Summary: This poem, performed by two young women in the youth poetry competition Brave New Voices, is an excellent way to introduce students to the concepts of intersectionality and Oppression Olympics. "Oppression Olympics is a term used when two or more groups compete to prove themselves more oppressed than each other." Intersectionality is the theory of thought that draws attention to the ways in which inequalities are intersecting and interlocking, and thus proves the difficulties associated with comparing one group's experience with oppression to another's. The poem specifically chronicles what happens when members of the African American community and the lesbian, gay, bisexual, and transgender (LGBT) community engage in comparisons of who has had it worse. While the practice of comparing the harms of racism to homophobia isn't new, as sociologist Eric Anthony Grollman points out in this blog post, "the supposed black-versus-gay divide is old, and frankly a little tired." Indeed, as Grollman and the youth poets show, the experiences and activist histories of these two marginalized groups have much in common. Such insight supports what the bisexual Caribbean-American activist poet June Jordan wrote in her book, Some of Us Did Not Die: "Freedom is indivisible, and either we are working for freedom or you are working for the sake of your self-interests and I am working for mine." In addition to pairing this video with Jordan's work, the clip would work well with scholarship by other intersectional thinkers such as Audre Lorde, Allan Johnson, and Patricia Hill Collins.

Submitted By: Kendra Barber

Tags: art/music, bodies, gender, intersectionality, race/ethnicity, sex/sexuality, feminism, rap music, 00 to 05 mins
Year: 2007
Length: 4:25
Access: YouTube

Summary: In this music video, rap artist Missy Elliott fills the void in the discussion of pro-sex black feminism. Historically, black voices have been excluded from the sex-positive feminist revolution. In part, the marginalization of black voices is a product of a colonial past that has stereotyped the black body as always already hypersexual (see Saarjite Baartman). As a result, black academics have taken up a “politics of silence” to resist these stereotypes. A potential site to begin the discussion of a pro-sex black feminist discourse is rap music (Skeggs 1993). The female rappers “talk back, talk black” (hooks 1989) to the colonialist system that attempts to contain the expression of women’s sexuality. In Missy Elliott’s hit song “Work It” (lyrics here), she expresses her own kind of sexuality, effectively creating a dialogue for us to rethink our analyses of black women’s sexuality. How does Missy (re)claim her body as a site of desire and empowerment? How does Missy establish herself as an active sexual subject in the song? Does this challenge patriarchal notions of female sexuality? How does she subvert traditional understandings of the black body? Does Missy challenge conventional (white) beauty standards (i.e. celebration of hips, large butt etc)? How, if at all, does Missy’s music differ from other female artists and, specifically, other popular women rappers? Does Missy create a language for other black women to start understanding and theorizing about their sexual experiences? Can we understand the black female body as separate from representations of Saartje Baartman? How does this enhance our understanding of active black female desire? Do you think that rap music is a legitimate medium to begin theorizing about black sexual scripts?

Submitted By: Pat Louie

Tags: art/music, capitalism, commodification, consumption/consumerism, marketing/brands, marx/marxism, theory, baudrillard, commodity fetishism, exchange-value, labor, lacan, surplus value, signified,  signifier, symbols, use-value, 00 to 05 mins 
Year: 2011
Length: 5:33
Access: YouTube

Summary: Seattle rapper Macklemore's music video for his thought-provoking song “Wings” is an excellent way to introduce students to Marx’s theory of commodity fetishism. Commodity fetishism is the process of ascribing magic “phantom-like” qualities to an object, whereby the human labour required to make that object is lost once the object is associated with a monetary value for exchange. Under capitalism, once the object emerges as a commodity that has been assigned a monetary value for equivalent universal exchange, it is fetishized, meaning that consumers come to believe that the object has intrinsic value in and of itself. The object’s value appears to come from the commodity, rather than the human labor that produced it. In “Wings,” Macklemore associates this process of commodity fetishism with Nike Air Max athletic shoes, explaining his belief as a child that the shoes would make him into a superstar athlete like Michael Jordan. The value of Nike shoes is displaced from the labour time that went into creating them, and instead is infused with an intrinsic value that comes into being through celebrity endorsement or symbols such as the iconic Nike “Swoosh.” “Wings” becomes a statement on how market capitalism seduces us into purchasing products that promise to make our lives better. Macklemore comes to this realization through the song’s narrative, exclaiming, “Nike tricked us all,” before finally realizing as the song comes to an end that “it’s just another pair of shoes.” Through tracks like “Wings,” Macklemore explores the darker side of consumption, urging listeners to critically rethink the messages imposed on us in capitalist societies that make us feel the need to constantly consume. This video can also be used to teach and distinguish among Marx's notions of use-value and exchange-value, as well as his concept of surplus-value, which is the surplus or profit earned by the capitalist, above and beyond the use-value (labour power) required to produce the object. Viewers may be urged to identify the use-, exchange-, and surplus-values of the Nike shoe in the video. How is value made? Why do we pay $180 for a pair of Nike shoes, but only $20 for a pair of Sketcher shoes? In addition, this video bolsters discussion about the power of symbols and signification (and Baudrillard’s notion of sign-value) in creating cultural meaning embodied in a commodity sign (e.g., the Swoosh on the Nike shoe, or the Apple symbol on an iPhone). Instructors can ask students to name other symbols in popular culture and what they mean to them. Drawing upon Jacques Lacan’s idea of the signifier and signified, instructors can expand the discussion of symbols by asking students to discuss the role of brand symbols in their life. Have they become a part of their identity? Their culture? Their daily lives? In the end, Macklemore speaks to this point: his Nikes are “so much more than just a pair of shoes.” They are “what I am… the source of my youth… the dream that they sold to you.” For another post on The Sociological Cinema that uses Macklemore's music videos to teach sociological concepts, click here.

Submitted By: Patricia Louie

Tags: art/music, inequality, lgbtq, marriage/family, prejudice/discrimination, sex/sexuality, hip-hop culture, homophobia, marriage equality, privilege, 06 to 10 mins
Year: 2012
Length: 7:03
Access: YouTube

Summary: Seattle rapper Macklemore’s hit track “Same Love” provides a social commentary for the relatively absent discussion of homosexual love in mainstream hip-hop culture. In “Same Love,” Macklemore expresses his support for gay marriage and creates a space for listeners to reflect upon their views of both gay marriage and homophobia—online, in rap music, and in our daily lives. The video tells a story of struggle with sexual identity, acceptance, love, and marriage. The video follows a man from childhood to old age, unraveling a story about the difficulties of navigating queer sexuality in a heteronormative environment. In the song’s opening lines, Macklemore unpacks stereotypical assumptions that society holds of prescriptions that define “gayness,” explaining his own confusion with his sexual identity as a child because he was “good at drawing” and “keeps his room straight.” Macklemore’s music provides a counter-narrative to typical messages in hip-hop centered around sex, money, drugs, and objectifying women. Instead, he uses his music as a forum to spread awareness about social issues. He effectively flips the discourse from the glorification of homophobic language in mainstream hip-hop to a discussion about prejudice and discrimination. Some questions that instructors can ask students include: “What do heterosexual people take for granted at school dances? At parties? At family dinners with their partner? How do these events illustrate some of the privileges associated with being heterosexual? What are some of the ways we “properly” perform heterosexuality in high school? Do you think hip-hop is an effective medium to educate and create discussions about social issues? For another post that features hip-hop music as a forum to engage social issues, click here.

Submitted By: Pat Louie

Tags: art/music, class, inequality, theory, bourdieu, homelessness, poverty, social distance, 00 to 05 mins
Length: 3:02
Year: 2012
Access: New York Times 

Summary: Part of the larger multi-media project Why Poverty?, this short documentary film poem entitled "Lullaby" can be used to teach Pierre Bourdieu's concept of social distance. The film depicts homeless people sleeping by A.T.M. machines in banks, and the reactions of people who encounter them. In a description of the film, filmmaker Victor Kossakovsky references the term social distance: "I wanted the film to be more universal—to emphasize the social distance between most people and the homeless people they encounter, wherever they are in the world." While Kossakovsky does not mention Bourdieu, instructors can use the clip and Kossakovsky's quote to initiate a discussion around Bourdieu's application of the term. As Erica Haimes (2003) summarizes in her article, Embodied Spaces, Social Places and Bourdieu: Locating and Dislocating the Child in Family Relationships: "Notions of space and place are central to Bourdieu’s work. He uses the term space literally (activities occur, and actors act, in physical spaces which have practical and symbolic significance in relation to each other) and metaphorically (preferring the term ‘social space’ to ‘society’ (2000:130-5). Actors occupy multiple places within multiple 'relatively autonomous’ fields that together constitute the social space. These places constitute their status, class, social position: their place within society" (11). Bourdieu is interested in understanding the processes that result in people's varying social positions relative to one another or, the social distance between people. After screening the film, instructors can ask: What activities are occurring in this space? How are actors acting? What practical and symbolic significances do these activities and actions have in relation to each other? Further, how do these activities and actions constitute and reinforce the status, class, and social positions of the people in the film? For example, viewers might consider the different activities occurring in this space (e.g., sleeping vs. completing a bank transaction) and the different ways actors act in this space (e.g., laying on the ground, stepping over a sleeping person, turning back around, etc...), and how these different activities and actions shed light on the multiple statuses, classes, and positions—or social distance—actors occupy relative to one another in the film. Does the film succeed at illustrating, in Kossakovsky's words, "the social distance between most people and the homeless people they encounter"? 

Submitted By: Valerie Chepp

Tags:  art/music, gender, intersectionality, race/ethnicity, sex/sexuality, androcentrism, female masculinity, gender performance, masculinity, schemas, 00 to 05 mins
Year: 2010
Length: 3:21
Access: YouTube

Summary:  [Trigger warning: there is explicit language used in this clip.] This is the official music video for  English pop singer and songwriter Jessie J's debut single "Do it Like a Dude" (2010). I use this video to discuss gender schemas, or cognitive processes by which individuals become gendered in society. I begin by asking students to identify, according to the video and society at large, the different characteristics that compose "doing it like a dude." Students might mention such things as wearing certain attire, making certain movements or gestures, drinking beer, smoking cigars, having money, being aggressive, or having heterosexual penetrative sex. Students can be encouraged to think how our ideas about these behaviors serve to gender individuals. The video is also a useful catalyst for a discussion about intersectionality and the multiplicities of masculinities (and femininities). For example, instructors might ask students to identify characteristic associated with racialized constructions of gender (e.g., Black masculinity, Latino masculinity, white masculinity, etc...), and how different constructions of masculinity are similar and/or different from one another. Further, the juxtaposition between the lyrics and the styling of Jessie J is also a useful illustration of capitalism and marketing. While singing about performing masculinity, Jessie J performs a sexualized femininity, and students are often quick to connect this with the drive to sell albums. Finally, the video can be used to discuss issues related to androcentrism—can we imagine a male artist trying to "do it like a woman?"

Submitted By: Michelle Sandhoff

Tags: art/music, bodies, gender, sex/sexuality, social construction, dance, masculinity, performance, subtitles/CC, 06 to 10 mins
Year: 2009
Length: 9:11
Access: YouTube 

Summary: This video features a dance piece entitled "The One & The Other," and is part of the graduate thesis of choreographer Juan Carlos Claudio (performing here with Graham Brown). In the piece, Claudio explores issues of masculinity and male-male friendships. He writes in his thesis: "The One & The Other came from a desire to portray the process of developing a healthy male relationship in which traits of masculinity and femininity are fully realized and expressed without fear or judgment. In presenting an example of this relationship I hoped to: 1) Challenge the old-fashioned rules of masculinity and the assumptions of male superiority, so that men could live happier and more fulfilled lives; 2) Expand men’s personal and emotional selves by helping them expose and realize their fears of close affection toward other men; and 3) Understand how men can create more genuine friendships by overcoming competitiveness, inexpressiveness, and other aspects of traditional masculine roles." This piece is not set to music. If you turn the volume up high you can hear the sounds of breathing and bodies in motion. After showing this performance in class, I ask students to discuss their emotional or visceral responses; they often say that it made them feel uncomfortable. This sets up a discussion of our social expectations of performances of masculinity, and can segue into a discussion of how we connect gender performance to ideas about sexuality. I ask the students to honestly assess whether they made assumptions about the sexuality of the performers based on their movements and interactions, and what led them to these assumptions. The video can also be used as an introduction to why bodies matter—I often ask students if they would feel more comfortable if it were two women dancers, or a male-female couple, and how their interpretations of certain movement sequences might be altered.

Submitted By: Michelle Sandhoff

Tags: art/music, children/youth, discourse/language, emotion/desire, gender, media, sex/sexuality, feminist criticism, hip hop, male gaze, madonna-whore complex, misogyny, rap, rhetoric, sexism, slut shaming, socialization,
06 to 10 mins
Year: 2012
Length: 5:35
Access: YouTube

Summary: In this music video, rap artist Lupe Fiasco addresses the issue of images in the media and how they are absorbed by children and incorporated into their lives as adults. He appears to be critical of the hip hop music industry for sending confusing messages when it broadcasts words like "bitch," sometimes as a deprecation, and other times as a compliment (e.g., Kanye West calls Kim Kardashian a "perfect bitch" in a recent song he wrote). Before Fiasco, cultural scholars already contemplated the use of the word "bitch" in hip hop. For instance, in her book Prophets of the Hood, Imani Perry discusses the way women artists deploy the term, and how some have even succeeded in subverting its negative connotations in an effort to create new space for women. It is clear, however, Fiasco is plotting a different course with his criticism. He raps: "You see the fruit of the confusion / He caught in a reality / She caught in an illusion." While it should be said that neither character can see things more realistically than the other, the line suggests that Fiasco is really interested in the term's inherent dualism, and in this way, his criticism maps onto a broader feminist theory that attempts to expose the modern workings of what Freud originally coined as the Madonna-whore complex. This complex refers to a dualism in Western patriarchal discourse, which seeks to circumscribe the behavior of women and the desires of men. On the one hand, women are rewarded for being the sexual play objects of men (i.e., whores), and on the other hand, women are given clear messages that true grace only derives from marital chastity (i.e., Madonna). The video might be useful for triggering a discussion about how this game is clearly rigged for women, but it can also be used to begin a discussion about how the discourse negatively affects men.

Submitted By: Kim Ward

Tags: art/music, class, goffman, methodology/statistics, theory, defining the situation, pierre bourdieu, social experiment, taste, subtitles/CC, 00 to 05 mins
Year: 2007
Length: 2:52
Access: YouTube

Summary: This video footage depicts a young man playing a violin in a Washington, DC Metro station during the heart of the morning rush hour. Unbeknownst to passersby, the musician is the world renowned Joshua Bell, playing one of the most difficult pieces ever written, on a violin worth $3.5 million dollars. In total, Bell played for about 45 minutes to about 1,100 people moving through the station. During this time, only a handful stopped to listen; he collected $32. Organized by the Washington Post, this social experiment was designed to broach questions around perception, beauty, and priorities; however, it can also be used to teach sociological concepts, such as Erving Goffman's theory of defining the situation and Pierre Bourdieu's theory of taste. Goffman argues that when individuals encounter one another, they (consciously or not) seek out information about the other so as to define the nature of the interaction. Morning commuters use the information around them to define the interaction between themselves and the violinist, including the fact that the musician is playing in a subway station, wearing everyday street clothes, standing beside an open violin case occupied by loose bills and change. Despite Bell's talent and professional status, given this information, the majority of commuters define the situation as an amateur musician playing for money, and they ignore him. Had the situation been defined with a sign that identified the world famous violinist playing an impromptu public concert, presumably more commuters would have stopped to listen. This latter point also speaks to Bourdieu's theory of taste, in which Bourdieu rejects a pure or genuine conception of aesthetics and instead argues that "good taste" is simply a reflection of the taste of the ruling class, demarcated by ruling class signifiers. Given that Bell is in a non-elite space, wearing non-elite clothing, playing for a non-elite audience, commuters are unable to recognize the highly skilled nature of the art. This demonstrates how good taste can be understood as a social (and Bourdieu would say classed) phenomenon, rather than an objective truth. This clip is one of several featured on The Sociological Cinema that illustrates social experiments, including experiments on racial bias, the Milgram experiment, and breaching experiments at Grand Central Station and on a college campus.

Submitted By: Valerie Chepp