Tags: discourse/language, inequality, race/ethnicity, chicago, colorblind racism, gentrification, myth of meritocracy, post-racial, racism, shakti butler, white privilege, 61+ mins Year: 2013 Length: 90:48 Access: Vimeo Summary: [NOTE: Audio may be low during segments of this film so you may want to turn your audio up or use headphones.] Dismantling White Privilege is a documentary featuring interviews with students, faculty, and staff of DePaul University, as well as filmmaker and educator Shakti Butler. The film explores and analyzes white privilege and its various nuances in American society. The film is perfect for classroom instruction because it is broken down into topics, including "dealing with race" (7:17), a race analysis of the movie The Help (35:36), "gentrification" (43:56), "dealing with white privilege" (46:20), "colorblindness" (59:43), the presumption that the U.S. is "post-racial" (65:35), "the myth of meritocracy" (68:53), the intersection of race, privilege, and language (70:35), "talking about race" (78:58), and "where do we go from here?" (84:39). Each topic features a wide array of voices, opinions, and strategies about how to move forward in a country still plagued by the legacy of racism. Submitted By: Timothy Lydon
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Tags: art/music, capitalism, class, globalization, historical sociology, inequality, marx/marxism, race/ethnicity, social mvmts/social change/resistance, alienation, counter-hegemony, crisis, ideology, patriarchy, social justice, subtitles/CC, 06 to 10 mins Year: 2013 Length: 6:20 Access: YouTube Summary: Blind Eye Forward (BEF) is an attempt to convey in words, music, and imagery the contradictory character of contemporary global capitalism, with attention to its historical formation, the social and ecological maladies that issue from its logic of dispossession and commodification, and the movements that, in response to those maladies, are struggling for a better world. A minor blues accompanied by still images and popular-cultural video clips, BEF begins at an ideological juncture and moves successively through issues of militarism, alienation and reification, and the challenge of creating the new within an obdurate present. In its middle part, which is carried musically by an extensive guitar solo, the piece moves through a world-historical narrative of colonial dispossession, slavery and the construction of "race", patriarchy, and capital and class. The final verse, though pessimistic, invites us to keep a red rose fastened to our chest, and to temper our pessimism with a Gramscian optimism of the will. Blind Eye Forward is useful as a discussion piece in learning contexts that problematize social inequality and the irrationalities of capitalism, within a broadly Marxist perspective. Pedagogically, it employs an arts-based approach, which can complement more expository communicative styles. Students generally find it both inspiring and troubling. It is important to reserve time after showing it in class for comments, questions, and dialogue. (Note: The piece does not have subtitles but the complete lyrics can be accessed by clicking "show more" under the description on the YouTube site.) Submitted By: William K. Carroll Tags: crime/law/deviance, government/the state, historical sociology, inequality, nationalism, politics/election/voting, dictatorship, domination, oligarchy, social construction of reality, tyranny, 61+ mins Year: 2013 Length: 94:23 Access: Top Documentary Films Summary: As stated on the film's website: "There are many perfect examples in our recent history which undoubtedly show that dictatorial regimes impose subjection, blackmail, servitude, intimidation, abuse, persecution and execution upon innocent people. However, many Americans are strongly convinced and assuredly assert that such a thing could never happen in the United States. But is this just desirous reasoning? Or, is there something essentially disparate about the United States that makes it resistant to the despotic abuse that has afflicted every other considerable empire in history? The primary step in scrutinizing the assertion that it can't happen here is to recognize and describe what "IT" is. Many people have distorted, almost comic-book-type, impression of dictatorship. In the real world autocracy has always crept in under the pretense of safeguarding the nation, defending the people, and establishing law and order. A dictator, in order to acquire and hold power, must demand the support of the people. An effective oppressor cannot publicly display malevolence and desire for power but must design his approach so as to persuade the people that his goals are righteous, that he wants honesty and fairness to abound, and that the most desirable way to make that true is to give him or her dominance and authority. Tyrannical governments develop by abusing people's fears - economic uncertainty, crime, foreign aggressors and so on and persuading the people that the quick-fix is for a political leader to be legally given absolute jurisdiction so he can shield the people from the wickedness of the world. This is always the pattern out of which autocracy is born. No matter how cruel or bloodthirsty regime becomes those in charge will persist to claim noble intentions and will dictate that an extreme government powers are required to protect the people and to create justice and order. Every time mankind has taken a step away from democracy and towards autocracy it was done in the name of defending the country and the people." Submitted By: Tom Sparhawk Tags: capitalism, class, economic sociology, government/the state, historical sociology, inequality, organizations/occupations/work, political economy, social mvmts/social change/resistance, theory, violence, war/military, ideology, labor, neocolonialism, postcolonialism, postcolonial theory, propaganda, 00 to 05 mins Year: 2013 Length: 2:43 Access: Vimeo Summary: This animated excerpt comes from the documentary, "Banana Land: Blood, Bullets and Poison." The clip recounts the events of December 6, 1928, when Colombian workers gathered to the protest the conditions of their employment under the United Fruit Company (UFC), which is now known as Chiquita. As the film explains, by the early twentieth century UFC had become a powerful multinational corporation, and in exchange for its role in helping to prop up repressive regimes in Latin America, the company was afforded cheap land, and in time, it came to develop a monopoly on the transport of fruit in the region. When workers organized to demand better working conditions, including 6-day work weeks, 8-hour work days, money instead of scrip, and written contracts, they were met with a violent response from the Colombian military. Protecting the interests of American economic elites, the United States government threatened to invade Colombia in order to quell the UFC worker protests, and in response, the Colombian government dispatched a regiment from its own army to do the job. The Colombian troops effectively created a kill box, setting their machine guns on the roofs surrounding the plaza where a group of protestors had gathered. After a five-minute warning to disperse, the troops opened fire killing women, men, and children. Other than a sobering reminder of the power corporations often wield over the lives of workers, especially when they have the backing of states, this clip would work well as a means of introducing some of the basic components of postcolonial theory, which can be understood as a body of thought that critiques and aims to transcend the structures supportive of Western colonialism and its legacies. In contrast to Marxist dependency theories and the world systems perspective, work in the postcolonial tradition tends to emphasize cultural, ideological, and even psychological structures born from the forceful and global expansions and occupations of Western empires (Go 2012). The banana strike and its violent conclusion is a vivid example of the way the United States has maintained a postcolonial grip on the running of foreign economies. In this case, a propaganda machine chipped away at international sympathy for the protesting workers, while at the same time, the U.S. was able to wield power over the Colombian government by mere threat of military force. Submitted By: Lester Andrist Tags: inequality, intersectionality, lgbtq, prejudice/discrimination, race/ethnicity, sex/sexuality, homophobia, racism, systems of power, 00 to 05 mins Year: 2014 Length: 2:02 Access: YouTube Summary: In a recent interview with Arsenio Hall (start 3:33; end 5:35), RuPaul provides a pithy explanation of how power, privilege, and inequality operate by similar logic structures across different social and historical contexts. After referencing football player Michael Sam's recent decision to come out as gay just prior to the NFL draft, Arsenio asks RuPaul to reflect on homophobia in the black community. RuPaul responds by reframing the discussion to take on a more systemic perspective of how power works, drawing parallels to the oppressions faced by black and queer people. Arsenio plays "devil's advocate" by evoking (though not explicitly referencing) black people's history with slavery, a history never experienced exclusively by gay people. RuPaul replies by explaining how racism, homophobia, and other systems of oppression rely on the same logic structures, in that they all revolve around "the ego needing to strengthen itself through putting someone else down. That's the similarity. And that's the same for people who have been oppressed for religion or race or sexuality." While sociologists might use slightly different vocabulary (for example, focusing less on "the ego"), sociologists draw attention to the same insight, illustrating how, as Allan Johnson argues, different forms of oppression all rely on systemic "patterns of exclusion, rejection, privilege, harassment, discrimination, and violence" (697). For the full interview between RuPaul and Arsenio, click here. Submitted By: Valerie Chepp Tags: children/youth, inequality, violence, war/military, empathy, sociological imagination, 00 to 05 mins Year: 2014 Length: 1:33 Access: YouTube Summary: This powerful PSA uses the second-a-day video format to promote empathy for people in war-torn regions. Created by Save the Children UK, the video targets UK viewers who might feel removed from the traumas of war and conflict. It begins by showing a young (white) girl blowing out the birthday candles on her birthday cake, then moves through a variety of 1-second clips of the same girl in everyday situations. While the first shots are mundane and (presumably) familiar examples, the clips increasingly reflect situations of unrest, trauma, and war—illustrating brief but emotionally-charged effects on her family, health, and psychological well-being. The final clip ends with her in a (refugee) tent staring blankly at a single candle on a more modest birthday cake. The subsequent text reads: "Just because it isn't happening here...doesn't mean it isn't happening"; and viewers are encouraged to #SaveSyriasChildren. In addition to suggesting some of the disastrous effects of war on children, it is an excellent way to introduce topics like the sociological imagination and empathy. Viewers might consider how social structures in the various contexts shape these individual outcomes. In other words, how is this individual child's biography shaped by the external social and historical forces beyond her control? How do the clips reflect the very different political structures, social conflicts, and economic opportunities that will likely shape the girl's life in very different ways? In doing so, viewers are likely to recognize the importance of empathy in understanding the experiences of groups that are different from our own. For a similar video connecting the sociological imagination to empathy, see sociologist Sam Richards' Ted Talk. Thanks to Michael Miller for suggesting this clip! Submitted By: Paul Dean Tags: crime/law/deviance, culture, gender, inequality, prejudice/discrimination, violence, mircroaggression, misogyny, patriarchy, rape, rape culture, sexual violence, slut shaming, street harassment, subtitles/CC, 06 to 10 mins Year: 2014 Length: 10:59 Access: YouTube Summary: "Oppressed Majority" is a short film from Eleonore Pourriat, and it contemplates what the world would be like if men and women swapped statuses. The film's protagonist starts his day by checking the mail and politely listening to his neighbor complain about the dilapidated condition of their building. She concludes, "But I should really be talking to your wife." With this alternate French universe as her backdrop, the remark is a perfect example of the subtle brand of sexism Pourriat is able to successfully explore--what sociologists sometimes refer to as microaggressions. Later in the film, the protagonist encounters a group of young women on the street. He endures their catcalls, but when he finally stands up for himself, the women chase him into alley and rape him at knifepoint. While the obstacles confronting the protagonist as he goes about his day do not always result in physical harm, in each instance, he is the recipient of a rather vivid lesson about the place and position he and other men occupy in this fictional matriarchal society. In my view, the film works as a kind of thought experiment and confronts viewers with an unsettling question: If you're appalled by the treatment of men in this fictional society, why aren't you appalled by the ways women are treated in many real societies? For those who might object that the filmmaker is exaggerating to make her point, consider the fact that at least in the U.S. a nationally representative survey found that 87 percent of American women between the ages of 18-64 had been harassed by a male stranger; and over half of them experienced “extreme” forms of harassment including being touched, grabbed, rubbed, brushed or followed. Even more harrowing, a recent Centers for Disease Control survey calculated that 1 in 5 American women will endure a rape or attempted rape in their lifetimes. To be blunt, the film is shocking, not because it exaggerates, but because it encourages viewers to contemplate a truth. What is truly remarkable then is that people have become so numb to patriarchal aggressions; the assaults have become so normalized that it takes a work of fiction to coax people into truly seeing the society in which they live. Submitted By: Lester Andrist Tags: capitalism, children/youth, consumption/consumerism, gender, inequality, marketing/brands, gender roles, gender socialization, market economy, market segmentation, toys, 06 to 10 mins Year: 2014 Length: 7:24 Access: YouTube Summary: In this episode from the Australian television series The Checkout, gendered marketing is analyzed and, specifically, the theory of market segmentation is explored. This theory posits that dividing consumers up into smaller groups is good for business; as the video demonstrates, gender is a common criteria upon which companies segment the market and increase the sales of their products. Product elements such as "shape, texture, packaging, logos, verbiage, graphics, sounds, and names [are all used] to define the gender of a brand." For example, Lego company tripled the sales of the same product and boosted their annual global revenue by as much as 25% when they created Lego Friends for girls and building sets and action figures for boys. Similar to children’s toys, companies segment the market by gender when advertising products for adults as well. Among the many examples cited in the video, Dove Company created “For Men” soaps, which have more squared edges than its regular, ellipse-shaped soap bars, packed in grey boxes in order to give a more “macho mystique” to the product. This video can be used in classrooms for explaining the connections between capitalist market economy and gender socialization, and its implications for gender inequalities. The video highlights how gender inequality manifests in the different prices of these products, with "women's products" often costing much more than those marketed toward men. However, viewers can also consider other ways that gendered marketing contributes to gender inequality. For other examples and critiques of gendered marketing on The Sociological Cinema, click here, here, and here. For a collection of pics on gendered marketing, click here. Submitted By: Nihal Çelik Tags: gender, inequality, prejudice/discrimination, everyday sexism, street harassment, 00 to 05 mins Year: 2014 Length: 3:56 Access: YouTube Summary: Leah Green turns the tables on men by playing an in-your-face sexual harasser on the streets of London in this video featured in a recent article in The Guardian. In doing so, she is trying to sensitize men to how it feels to be the object of sexism by simply relating to men in the same ways many men interact with women in public space. Quoting Green in her article: "As is usual when men make inappropriate sexual remarks to me, I felt embarrassed. This time, at least, there was a slight silver lining, as it was a perfect scenario to recreate for my film, in which I tested out real sexist situations on men. I took tweets from @EverdaySexism, where women (and men) recount sexist incidents and, using hidden cameras, acted these out on unsuspecting members of the public. Since launching the film on the Guardian website on Friday it has garnered more than a million hits and nearly three thousand comments. Responses have been varied. Women have said that the film, which uses comedy to make a serious point, highlights perfectly the kind of harassment they receive on a daily basis. Many men have said that the words coming from the mouth of a woman made them realise their weight and impact. However, others felt the film was cruel, and that subjecting innocent men to sexually aggressive comments made me no better than the men who do that, thus completely undermining the feminist message. Those are the criticisms I would like to answer." (Note: This post originally appeared on SoUnequal.) Submitted By: Michael Miller Tags: class, food/agriculture, health/medicine, inequality, race/ethnicity, rural/urban, food desert, food justice, poverty, racism, 11 to 20 mins Year: 2010 Length: 13:58 Access: Vimeo Summary: Poor diets are a result of the structural inequalities that limit access to healthy food, not individual behaviors. Hungry for Health: A Journey through Cleveland’s Food Desert documents a day in the life of Willa Sparks, a woman living without ready access to fresh and affordable food. Instead, she must rely on corner stores, fast food restaurants, and gas stations selling processed and frozen foods. By most accounts, Sparks is a statistic. She lives in an economically deprived and segregated urban area. She is also single and raising a child. However, Sparks is not portrayed as a victim in Hungry For Health. Members of minority groups, including women, are more likely to be in poverty and living in food deserts; thus, they are more likely to suffer from poor health. While residential environments do shape racial health disparities, the film focuses on Sparks’ efforts to combat social inequalities. Denied the fresh vegetables and fruits needed to maintain a healthy diet, Sparks suffers a heart attack and is diagnosed with diabetes. The doctor warns her to change her eating habits or die young. Sparks rises to the challenge learning the nutritional knowledge she lacked and overcoming the first hurdle to accessing fresh foods for her family. Proximity, income, and mobility also influence her accessibility to a healthy diet. Sparks doesn’t own a car and can’t afford a taxi, so she must rely on public transportation to go to the market. At the store, she carefully selects her groceries, spending wisely and shying away from cheaper junk food. Her tight budget forces her to consider her bus pass as part of her daily expenditures. Because she’ll spend time outside waiting for buses and walking to destinations, she must always be prepared for inclement weather. There’s no direct route to the store, so Sparks spends the good part of the day traveling to purchase food before returning home to start preparing it. The process is slowed by her health and poor mobility. She walks with a cane and carries home as many grocery bags as she can lift. Viewers gain both a deeper understanding of food deserts and a new reverence for the people living in them. For more information about the film, please contact the filmmaker at theresa.desautels@gmail.com. Submitted By: Mary Barr, PhD |
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