If a movie reflected a society’s mores, would it show traditional or unconventional practices?

Answer:

Increasingly historians have moved away from a history that chronicles battles, treaties, and presidential elections to one that tries to provide an image of the way daily life unfolded for the mass of people: how they worked, what they did for fun, how families were formed or fell apart, or how the fabric of daily life was formed or transformed. Film has an important role to play in these histories. While traditional historical documents tend to privilege great events and political leaders, historians now use other records to discern the lives of "ordinary" people: census records, accounts of harvests and markets, diaries and memoirs, and local newspapers. Film is perhaps more like these records of daily life than it is like the documents that record great events. Motion pictures may provide the best evidence of what it was like to walk down the streets of Paris in the 1890s, what a Japanese tea ceremony was like in the 1940s, what the World Series in 1950 looked like, or how people in factories did their work or spent a Sunday afternoon in the park. All of these subjects could be staged and distorted, of course, and film can be transformed in many ways. But as a record of time and motion, films preserve gestures, gaits, rhythms, attitudes, and human interactions in a variety of situations. In almost any film archive, and in numerous places on the Internet, one can glimpse images of simple actions, from the way a Buddhist monk in Ceylon folded his robe in 1912 to the way people boarded trolley cars in New York City in the 1930s. While film shares much of this information with other forms of documentation, especially still photography, motion pictures allow viewers to see and compare the everyday physical actions of people across the globe and throughout the twentieth century.

This is not to deny that film provides indelible images of some of the twentieth century's great events. Our horrified consciousness of the Holocaust relies partly on the filmed images from the liberation of the camps, and our knowledge of the devastation of the Atomic bomb comes partly from motion pictures of Hiroshima or of A-bomb test explosions. Conversely, twentieth-century disasters or traumas that went unrecorded by motion pictures -- such as the genocide of the Armenians or mass starvation in Asia -- are less present in public consciousness because of the lack of vivid images. But when we focus on social and cultural history, especially the important role of leisure in the lives of ordinary people, film not only provides evidence and records but takes on a key role.

In addition to the primarily non-fiction or documentary films discussed above, we must consider Hollywood's primary output, feature films. Can fictional film be used as historical evidence? As evidence of what? Fictional films serve as historical evidence in the same way that other representational art forms do -- by making events vivid, portraying social attitudes, and even revealing the unconscious assumptions of past societies. Griffith's The Birth of a Nation cannot be viewed as an objective or accurate view of the era of Reconstruction, but it does -- painfully, and even unintentionally -- indicate the sorts of hysterical anxieties and aggressive fantasies that underlay American racism, especially in the early twentieth century. Attitudes about gender, class, and ethnicity, as well as heroism, work, play, and "the good life" are all portrayed in fictional films as they are in an era's novels, plays, and paintings. But as a form of mass visual entertainment, films reflect social attitudes in a specific and vivid manner.

From 1915 to about 1955, movies were arguably America's most popular form of narrative entertainment. Movies, therefore, aimed at a wider target audience than that of most novels and plays. Does this mean that movies reflect social attitudes more accurately than any other medium, since they reached the greatest number of people? Possibly. But a mass audience does not mean that movies in America represented all points of view. It often indicates the opposite, with film studios avoiding certain controversial points of view in order not to offend a wide-ranging audience. Since films were released nationally and globally to make a profit, producers tried not to offend groups they recognized as influential and usually avoided political controversies or minority opinions.

Yes, if a movie reflected a society’s mores, it would show traditional or unconventional practices.

More and more historians are attempting to paint a picture of how daily life for the vast majority of people unfolded, including how they worked, what they did for fun, and how families were formed or broke up. How the fabric of daily life was formed or transformed, as opposed to a history that focuses on wars, treaties, and presidential elections.

In these histories, film plays a significant role. The lives of "ordinary" people are now uncovered by historians using other records, such as census data, harvest and market reports, diaries and memoirs, local newspapers, and other sources. As opposed to the great events and political figures that are primarily highlighted in traditional historical documents.

Therefore, yes, if a film reflected a society's mores, it would depict ordinary or outlandish behaviors.

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Read this sentence from the Newsela article "Storytelling and Cultural Traditions."

Prominent in the Irish oral tradition are tales of kings and heroes.

What does prominent mean?


threatening

important

hidden

uncertain

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a house
a ring
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The crowd gathered around a chain-link fence and waited for the show to begin. The artist approached the large tree stump and powered up his chainsaw with a loud roar. Everyone was startled even though they knew the sound was coming. Swinging the saw in rhythmic motions and lunging forward to make quick stabs at the wood, the artist began to create an image. The people in the crowd turned their heads and squinted their eyes, trying to make out what shape the sculpture would take. Time passed quickly and the buzz of the saw dominated the scene for most of the afternoon. Then, just as the evening light softened the forest, the artist set down his saw and touched the face of the giant grizzly bear with his bare hand. Which evidence supports the inference that the artist is inspired by nature? (1 point) a. )He likes to be hands on with his work. b )He carves animals out of wood. c ) He performs outside in front of a crowd. d ) His work requires physical strength.

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H1
English
Nouns
A noun is a person, place, or thing.
Underline
the nouns in the sentences below. The first one has been done for you.
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i need help with this engish

In a short story set in the future, humankind has developed self-aware
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not
In part of the story, the humans decide to stage a large-scale war against the
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thinks.
O D. It shows that the dangers of technology can and should be
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This excerpt serves to foreshadow
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O the success Lange found photographing people in
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O the joy Lange took in photographing people in a studio
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the manner in which Lange attempted to hide from all
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the way in which Lange used her personal tragedy

Which statement would best serve as a claim for an argument?
Though studying a foreign language requires maturity, many middle schoolers are ready for the challenge and the
enrichment.
Many middle schools offer foreign language instruction, and students can learn to speak French or Spanish.
Middle school students are too immature to add foreign language instruction to their course schedules.
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In "The Raven and the First Men: The Beginnings of the Haida," which evidence best helps the reader infer that the Haida might find it acceptable behavior to play tricks on one another? © The story presents Raven's trick against the Sky Chief in a matter-of-fact manner. The story presents Raven's trick against the Sky Chief in a sarcastic manner. O The story presents Raven's trick against the Sky Chief in an over-the-top manner. O The story presents Raven's trick against the Sky Chief in a humorous manner.​

How did the social order in medieval China prohibit the development of personal identity?

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the landscape of the location
the customs of the characters
the author's tone
the number of main characters in the story
the time period of the story
the events that are happening around the character

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5) malfunctioned
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could anybody help me with the cloze passage​

it's called choking: i miss looking up at the stars, seeing just how far the sky stretched in the abyss. Hints of the cornfields surrounding me, all green in their delicacy. I want to smell that fresh air, not smog that gets stuck in my hair. What happened to the lush green trees that i climbed as a girl?, because all i see are burnt things, un-blowing in the breeze. Our world is not what is used to be, yet neither are we. So ill just stay choking on the air i am supposed to breath, and pretend im okay, with the world forced upon me...
Is this good?