Tags: capitalism, class, globalization, historical sociology, inequality, methodology/statistics, political/economy, absolute poverty, antônio conselheiro, charity, colonialism, comparative historical analysis, industrial revolution, poorhouse, relative poverty, social history, welfare state, workhouse, 21 to 60 mins
Year: 2013
Length: 58:05
Access: YouTube

Summary: This exquisitely animated documentary tells a sweeping social history of world poverty. You, the viewer, are the protagonist in this film floating through the meandering jet stream of world history. "If we want to make poverty history," the narrator explains, "then first, we need to understand the history of poverty." The documentary appropriately begins in prehistory (2:35), and in a more or less linear fashion, moves through humanity's early large scale civilizations, including ancient Egypt (4:40) and ancient Greece (5:40). Zipping forward to the Middle Ages, the story unfolds again in Cairo (8:20), and then lingers in Paris of the same period (10:50). The history of colonialism is woven into the story with a look at the Spanish conquest of the Inca Empire (14:20), the Portuguese conquest of West Africa (16:20 and 34:40), and British colonial rule in India (36:00). Poverty in a neocolonial context is later examined in Ghana (38:50 and 43:55), and China makes appearances as the site of both model relief efforts and tragic famine (18:30 and 43:20). At the 20:30 mark the story returns to Western Europe in order to consider the impact of the Industrial Revolution on poverty, and then moves toward a conclusion which contemplates the changes wrought by globalization. While this 58-minute film understandably fails to deliver a truly exhaustive account of the the world-historical processes associated with poverty, the film would be an excellent tool for illustrating comparative historical analysis in sociology. Systematic comparison is of course central to comparative historical work, and this film succeeds in illustrating the importance of comparison by briefly drawing on eighteenth century China as a rare instance where prosperity for some didn't necessarily come at the cost of desperate poverty for others. What does the film's analysis of poverty gain by including this "negative" case in the story? One answer is that the case of China complicates the viewer's understanding of poverty by exposing its causes as far less determined and far more contingent.

Submitted By: Lester Andrist

Tags: du bois, methodology/statistics, prejudice/discrimination, race/ethnicity, theory, africana studies, public sociology, 21 to 60 mins
Year: 2012
Length: 36:51
Access: YouTube

Summary: On February 17th, 2012 three intellectual panels convened at the University of Pennsylvania in conjunction with the posthumous appointment of Dr. William Edward Burghardt Du Bois as Honorary Emeritus Professor of Sociology and Africana Studies. The video features a wide array of remarks and reflections from a number of intellectuals, including Tukufu Zuberi, Lawrence D. Bobo, Mary Patillo, Anthony Monteiro, Howard Winant, and Elijah Anderson. Excerpts from the video can be readily used to spur discussions about particular aspects of Du Bois' scholarship. The video begins with sociologist Tukufu Zuberi (1:40 to 4:10) outlining many of Du Bois' early accomplishments, including the fact that in 1895 he became the first African American to receive a PhD in history from Harvard University. Highlighting Du Bois' methodological contributions, sociologist Aldon Morris (4:45 to 6:00) discusses Du Bois' advancement of empirical methodologies, and later in the video Zuberi (10:00 to 11:10) notes that Du Bois arrived at a number of his remarkable insights in Black Reconstruction of Democracy in America, despite being barred from primary source materials due racial segregation. Underscoring the enduring significance of Du Bois' work, sociologist Howard Winant (13:40 to 15:10) notes the fact that Du Bois reclaimed the narrative that African Americans were central in the movement to achieve an advanced democracy, and Winant explains that Du Bois' work powerfully argues that Blacks were also centrally involved in their own emancipation. At the 11:10 mark, Zuberi argues for the significance of Du Bois' work in the face of persistent racism within the academy. He notes that despite the fact that Du Bois' work foreshadowed a number of celebrated sociological works from authors like Immanuel Wallerstein, Barrington Moore, Jr., and Theda Skocpol, Du Bois is not cited by these authors. Finally, a number of panelists passionately argue that Du Bois was one of the first truly public intellectuals. For instance, Stephanie Y. Evans (6:00 to 6:50) likens Du Bois to a conductor, facilitating communication and exchange between intellectuals and non-intellectuals alike. At the 6:50 mark, Mary Patillo similarly discusses the way Du Bois' concepts have permeated outside the academy, and how his work has contributed to black studies movements that seek to make connections between campus and off-campus struggles.

Submitted By: Tukufu Zuberi

Tags: economic sociology, inequality, methodology/statistics, organizations/occupations/work, prejudice/discrimination, race/ethnicity, affirmative action, field experiment, hiring, institutional discrimination, labor market, racism, stratification, 00 to 05 mins
Length: 3:40
Year: 2010
Access: no free online access (but currently available on netflix); YouTube preview

Summary: In this clip from Freakonomics (start 13:50; end 17:30), economist Sendhil Mullainathan discusses his (and co-author Marianne Bertrand's) 2004 field experiment that examined racial discrimination in the labor market (article here). They sent out 5,000 resumes to real job ads. Everything in the job ads were the same except that half of the names had traditionally African-American names (e.g. “Lakisha Washington” or “Jamal Jones”) and half had typical white names (e.g. “Emily Walsh” or “Greg Baker”). As they illustrate, people with African-American-sounding names have to send out 50% more resumes to get the same number of callbacks as people with white-sounding names. In the video, everyday people also discuss how others make assumptions about a person's race based on their name. This is important to understanding how racial stratification is reproduced through the labor market, and explains part of the racial gap in income. This study is further supported by Devah Pager's (2003) classic audit study, where she documented similar effects of racial discrimination through in-person applications. These studies also highlight the importance of affirmative action policies in attempting to level the playing field (although Bertrand and Mullainathan's study showed federal contractors did not favor applicants with African-American sounding names). The video can also be used in a methods class to illustrate field experiments. Note that this is the second post on The Sociological Cinema, which draws from the film Freakonomics.

Submitted By: Paul Dean

Tags: methodology/statistics, science/technology, depression, research methods, validity, 00 to 05 mins
Year: 2011
Length: 2:22
Access: The Colbert Report

Summary: In this clip, Stephen Colbert critiques a research study that claims late night television causes depression. Methodologically, Colbert first points out rather than having humans watch late night television and then assessing levels of depression, the scientists exposed hamsters to dim lighting at night and then examined the rodents' brains and behaviors. Thus, despite headlines promoting the link between television and depression, all the scientists actually discovered is that low light affects hamsters. After revealing this methodological weakness, Colbert puts human viewers at ease by letting us know that people are immune to his underhanded plot to drive hamsters to suicide. Thus inadvertently, Colbert reveals the importance of validity to scientific methodology. We must always be careful what findings we extrapolate from studies by asking ourselves, does this study actually measure what it is supposed to measure?

Submitted By: Jason T. Eastman

Tags: economic sociology, gender, inequality, methodology/statistics, organizations/occupations/work, prejudice/discrimination, empiricism, feminism, gender wage gap, income inequality, 11 to 20 mins
Year: 2012
Length: 14:42
Access: YouTube

Summary: A few months ago, sociologist Phillip Cohen blogged about a feminist viral statistic meme, which claims that women own less than 1% of all the world's wealth. It turns out, a credible source for this figure can't be traced and is unlikely to exist. As Cohen's post reminds us, the very statistics that shape how we understand the world are sometimes little more than elaborately disguised rumors. So what about other influential statistics? What about that viral statistic which states that women earn about 77 cents for every dollar men earn? When people have denied gender inequality exists and when they have implied it is unnecessary to enact policies aimed at eradicating it, the 77-cent statistic has often come to the rescue and thwarted derailment, so whether the statistic is accurate is an important question. In the above clip, Republican Party strategist Alex Castellanos asserts the 77-cent statistic is untrue. Could it be just another viral statistic meme without a source? The short answer is no. The longer answer is that 77 cents is an average, and the number varies based on profession, age, and race. The 77-cent statistic can easily be traced to a respectable source--the Census Bureau (the U.S. Bureau of Labor calculates the number differently and arrives at about 81 cents on the male dollar). The point is society needs an accurate description of the world, lest our dominant understanding of the world become solely derived from eloquently stated assertions by elites with narrow interests. In part, this clip makes a good case for the potential importance of sociology, and in particular, a sociology that checks its sources. It is also important to have a sociology that is capable of setting the record straight, if only to rebuke those talking heads who seek to confuse the public with baseless assertions. In this clip, Alex Castellanos' baseless assertion begins at about the 7:35 mark.

Submitted By: Lester Andrist

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

Tags: aging/life course, art/music, emotion/desire, marriage/family, methodology/statistics, biography, data visualization, divorce, memory, narrative, storytelling, 00 to 05 mins
Year: 2001
Length: 2:34
Access: Vimeo

Summary: In this clip "Polly", a 65 year old woman from the Midlands in the UK, recalls the time as a child when her parents sat her down and asked her which of them she wanted to be with. Her story, re-narrated by three players, represents how this traumatic event became an enduring memory throughout the various stages of her life. This video exhibits how sociologists can draw upon biography and narrative to explore any number of sociological concepts; in this particular clip, Polly's narration of her own biography can be used to explore sociological understandings of memory, emotion, family, and the life course. For example, the clip could be useful in a class on cognitive sociology, highlighting how cognitive processes, such as memory, are shaped by socio-cultural events, such as divorce. In addition to using the clip as a way to interrogate biography and narrative as sociological methods of research, the clip could also be a nice launching pad from which to introduce an assignment where students create their own videos, using their own biographical narratives as a window through which to explore larger sociological phenomena, much in the way C.W. Mills suggested. The clip's Vimeo webpage provides production details about the video, as well as a link to a paper by Kip Jones, the video's writer and producer, "The Art of Collaborative Storytelling: Arts-Based Representations of Narrative Contexts," which tells more about Polly's story and Jones' method. Kip Jones describes the clip as an "experiment in visualisation of research data."

Submitted By: Kip Jones

Tags: class, community, crime/law/deviance, inequality, intersectionality, methodology/statistics, organizations/occupations/work, prejudice/discrimination, race/ethnicity, rural/urban, ethnography, homelessness, urban poverty, visual sociology, 21 to 60 mins
Year: 2010
Length: 60:00
Access: no online access (clip here)

Summary: This documentary, directed by Barry Alexander Brown, is based on the ethnographic fieldwork that sociologist Mitchell Duneier conducted for his seminal book, Sidewalk (1999). Framed in the film's introduction as an "epilogue" to the book, Brown offers a plot summary: "SIDEWALK chronicles the lives of primarily black homeless book vendors and magazine scavengers who ply their trade along 6th Avenue between 8th Street and Washington Place in New York City. By briefly comparing those book vendors with the history of book vending along the Seine in Paris, the film speaks to the efforts of North American and European societies to rid public space of the outcasts they have had a hand in producing. The film takes us into the social world of the people subsisting on the streets of New York by focusing on their work as street side booksellers, magazine vendors, junk dealers, panhandlers, and table watchers. The sidewalk becomes a site for the unfolding of these people living on the edge of society in order to give us a deeper understanding of how these individual's are able to survive. It also becomes a site for conflicts and solidarities that encompass the vendors and local residents. We followed half dozen vendors for most of this past decade. By the end of shooting the film, their lives had taken a myriad of routes..." Like other urban ethnographic films (e.g., here), Sidewalk would be excellent to show in an urban sociology course, as well as an introductory sociology class, as it engages core sociological concerns around race, poverty, homelessness, underground economies, interactions with police, and community support networks, among others. Ethnography professors might also find the film useful—the film opens with several screens of written text, describing the film as a "set of fieldnotes." The DVD includes a special feature (50 min) entitled "Method: Sidewalk and Ethnography," in which Duneier presents his approach to doing ethnography, particularly within the context and medium of film. To access the full DVD, check out your university library.

Submitted By: Valerie Chepp