Stavis (1996) notes that “the shorthand use of familiar actors is one of the glories
of the movies of the Golden Age. The audience felt it ‘knew’ most of the characters the
minute they appeared.” Stars are always visible beneath their characters; their fans and
followers know so well how they are likely to behave in certain situations that scripts are
written especially to exhibit their established traits and mannerisms (Maltby & Craven
1995:252).
The stereotyped star or character is not an empty creature, however. On the
contrary, “a resonant cultural myth may be revealed.” Jimmy Stewart, for instance,
created an effect of an “edgy, nervous hesitation in his speech,” as if talking was “a
shield, behind which more intricate mental processes can take place,” explains Gollin – 10 -
(1996), a style which Jeff Goldblum adopts in many of his films. Such prototypical
American heroes are
strong and silent because of their integrity, oneness of inner and outer person, in
which every syllable speaks from the heart, and also because they are self reliant
loners, not dependent on social membership or acceptance for their identity, so
they rarely merely chat, and never explain (Gollin 1996).
This “reluctant hero” is a frequently used mechanism (Maltby & Craven
1995:254). At times, the movies will play with stereotype, “not to convince but to
amuse” (Maltby & Craven 1995:254), like Marilyn Monroe’s character in her comedies,
or Edward Everett Horton’s fey character in the Astaire musicals.
Powers, Rothman and Rothman (1996), in a continuing study, took a random
sample of 440 top-grossing films between 1946-1990 and coded some 4,000 characters.
Their data shows shifts through the past decades in perspectives in movies regarding the
military, the Watch Pina Online Free police, violence, religion, class, gender and minorities.
Women make up half of society, though in the movies, only 1/4 of the total
number of coded characters are women (Powers, Rothman & Rothman 1996:154).
Women are more than twice as likely as men coded for romance and marriage, and if the
movie woman has a high status career, it is even more likely. After marriage, the movie
woman’s career is no longer important. Movie women have non-traditional jobs 72% of
the time, not like the real world where a woman is more likely to be a housewife, teacher,
nurse, secretary, or waitress. 60% of women are portrayed favorably, compared to 47%
of male characters (Powers, Rothman & Rothman 1996:168). Nine percent of female
characters were shown with unfavorable characteristics. In movies made between1976-
1990, 36% of the movie men resorted to violence; while 27% of movie women did.
Women as often as not play a role unequal to men: Princess Leia in Star Wars (1977),
unlike her brother, is not a candidate to inherit the “Force,” and the alien in ET bestows a
magical touch on the boy, while merely telling the girl to “Be good” (Wood 1996:220).
However, later in the Star Wars series, Leia does get a chance, and in movies like the
Alien and Terminator series, women get their place in the sun to battle evil space
creatures and save the world.- 11 -
Between 1946-1965, only 15 out of 411 rated characters were minority group
members. In 1966-1975 it increased to 27 out of 258, or 10%, and in 1976-1990 the
figures were 56 out of 429 characters, or 13%. Hispanics appeared as only 1.7% of
characters, compared to a real 8%. Asians appeared as a relatively realistic 2.4% of the
movie population. Minority characters were portrayed negatively 18% of the time, while
white characters were depicted negatively 29% of the time (Powers, Rothman & Rothman
1996:175-178).
In 1976-1990 blacks in movies accounted for 9.7%, whereas in real society 14%
of the American population was black. Black characters were portrayed more favorably
than whites, even when blacks used violence and committed crimes (Powers, Rothman &
Rothman 1996:186).
of the movies of the Golden Age. The audience felt it ‘knew’ most of the characters the
minute they appeared.” Stars are always visible beneath their characters; their fans and
followers know so well how they are likely to behave in certain situations that scripts are
written especially to exhibit their established traits and mannerisms (Maltby & Craven
1995:252).
The stereotyped star or character is not an empty creature, however. On the
contrary, “a resonant cultural myth may be revealed.” Jimmy Stewart, for instance,
created an effect of an “edgy, nervous hesitation in his speech,” as if talking was “a
shield, behind which more intricate mental processes can take place,” explains Gollin – 10 -
(1996), a style which Jeff Goldblum adopts in many of his films. Such prototypical
American heroes are
strong and silent because of their integrity, oneness of inner and outer person, in
which every syllable speaks from the heart, and also because they are self reliant
loners, not dependent on social membership or acceptance for their identity, so
they rarely merely chat, and never explain (Gollin 1996).
This “reluctant hero” is a frequently used mechanism (Maltby & Craven
1995:254). At times, the movies will play with stereotype, “not to convince but to
amuse” (Maltby & Craven 1995:254), like Marilyn Monroe’s character in her comedies,
or Edward Everett Horton’s fey character in the Astaire musicals.
Powers, Rothman and Rothman (1996), in a continuing study, took a random
sample of 440 top-grossing films between 1946-1990 and coded some 4,000 characters.
Their data shows shifts through the past decades in perspectives in movies regarding the
military, the Watch Pina Online Free police, violence, religion, class, gender and minorities.
Women make up half of society, though in the movies, only 1/4 of the total
number of coded characters are women (Powers, Rothman & Rothman 1996:154).
Women are more than twice as likely as men coded for romance and marriage, and if the
movie woman has a high status career, it is even more likely. After marriage, the movie
woman’s career is no longer important. Movie women have non-traditional jobs 72% of
the time, not like the real world where a woman is more likely to be a housewife, teacher,
nurse, secretary, or waitress. 60% of women are portrayed favorably, compared to 47%
of male characters (Powers, Rothman & Rothman 1996:168). Nine percent of female
characters were shown with unfavorable characteristics. In movies made between1976-
1990, 36% of the movie men resorted to violence; while 27% of movie women did.
Women as often as not play a role unequal to men: Princess Leia in Star Wars (1977),
unlike her brother, is not a candidate to inherit the “Force,” and the alien in ET bestows a
magical touch on the boy, while merely telling the girl to “Be good” (Wood 1996:220).
However, later in the Star Wars series, Leia does get a chance, and in movies like the
Alien and Terminator series, women get their place in the sun to battle evil space
creatures and save the world.- 11 -
Between 1946-1965, only 15 out of 411 rated characters were minority group
members. In 1966-1975 it increased to 27 out of 258, or 10%, and in 1976-1990 the
figures were 56 out of 429 characters, or 13%. Hispanics appeared as only 1.7% of
characters, compared to a real 8%. Asians appeared as a relatively realistic 2.4% of the
movie population. Minority characters were portrayed negatively 18% of the time, while
white characters were depicted negatively 29% of the time (Powers, Rothman & Rothman
1996:175-178).
In 1976-1990 blacks in movies accounted for 9.7%, whereas in real society 14%
of the American population was black. Black characters were portrayed more favorably
than whites, even when blacks used violence and committed crimes (Powers, Rothman &
Rothman 1996:186).
Watch Pina Online Free
These figures indicate that, while women and minorities are portrayed in less
realistic numbers than white males, they are more likely than white males to have
favorable images. There are racist elements in the populist ideology, as seen particularly
obviously in the first major American movie, Griffith’s Birth of a Nation (1915), but,
with rare exceptions, an American who is blatantly racist toward another American is
never made to appear sympathetic because of his or her racism. Indeed, recent movies
like Independence Day (1996) takes great pains to make sure as many of the races of the
American melting pot are portrayed sensitively.
Businessmen in the analyzed movies were portrayed unfavorably 44% of the time.
In the 50s wealthy men were likely to be coded for romance, while in the 70s they had
characteristics of greed and self-interest (Powers, Rothman & Rothman 1996:147). Few
businessmen seem to serve useful purpose in movie society, which may parallel their
often poor image in the real world. Madonna, for example, is often condemned as
“merely” a businesswoman who knows how to sell her limited talent (Cvetkovich
1993:167). The populist and progressive ideologies both seem to unite in criticism of
great corporations which are believed to destroy economic individualism and political
democracy (Belton 1996:9).
- 12 -
Besides stereotyped characters, Hollywood movies rather inevitably feature
clichéd scenes, of which a compilation can be found in Roger Ebert’s Little Movie
Glossary (Ebert 1994). One clichéd scene is the “Law of Economy of Characters,” which
confirms that the movie will have no characters that are unnecessary to the plot. The
“Law of Inverse Wariness” provides that the more dangerous the prisoner, the more lax
the security will be. The “Divine Dog Syndrome” ponders the fact that dogs are never
killed or otherwise die in movies. The “Feedback Rule” says that whenever a microphone
is used, there will be feedback noise.
Cliché scenes, like cliché characters, can be viewed by different viewers as either
an amusing or Watch Pina Online Free an irritating feature. In a movie-saturated world, we are self-conscious
about watching countless movies, and so many movies let us know humorously when
clichés, scenes and dialogues that we have been exposed to many times, are being used
yet again. Independence Day is cheerfully self-consciously sprinkled with references to
other science-fiction movies, which the audience, well versed in movies, can take
pleasure in identifying, as a good game and as a reward for its own sophistication. As the
best criticism and the best poetry are rich in associations, so, it may be added, without
going into the question of how movies and television are eroding literacy, are movies.
Teachers who find that Hollywood film characters tend to be clichéd might have
doubts and reservations using movies for their English language classes insofar as they
“enhance and reinforce stereotypical behavior” (Kraez 1996). This caveat can be resolved
if the teacher can explain to the class what it is about the stereotyped characters’
behaviour that may be offensive. However, it is an on-going debate, with thousands of
inconclusive studies on the impact of television violence, as to what extent movies and
television passively mirror society and provide entertainment, or actively shape people’s
attitudes, for better or worse (Powers, Rothman & Rothman 1996:10, 40). As Hollywood
movies are particularly open to different impressions, it is often difficult to speak for
everyone in saying that a character is offensive.
realistic numbers than white males, they are more likely than white males to have
favorable images. There are racist elements in the populist ideology, as seen particularly
obviously in the first major American movie, Griffith’s Birth of a Nation (1915), but,
with rare exceptions, an American who is blatantly racist toward another American is
never made to appear sympathetic because of his or her racism. Indeed, recent movies
like Independence Day (1996) takes great pains to make sure as many of the races of the
American melting pot are portrayed sensitively.
Businessmen in the analyzed movies were portrayed unfavorably 44% of the time.
In the 50s wealthy men were likely to be coded for romance, while in the 70s they had
characteristics of greed and self-interest (Powers, Rothman & Rothman 1996:147). Few
businessmen seem to serve useful purpose in movie society, which may parallel their
often poor image in the real world. Madonna, for example, is often condemned as
“merely” a businesswoman who knows how to sell her limited talent (Cvetkovich
1993:167). The populist and progressive ideologies both seem to unite in criticism of
great corporations which are believed to destroy economic individualism and political
democracy (Belton 1996:9).
- 12 -
Besides stereotyped characters, Hollywood movies rather inevitably feature
clichéd scenes, of which a compilation can be found in Roger Ebert’s Little Movie
Glossary (Ebert 1994). One clichéd scene is the “Law of Economy of Characters,” which
confirms that the movie will have no characters that are unnecessary to the plot. The
“Law of Inverse Wariness” provides that the more dangerous the prisoner, the more lax
the security will be. The “Divine Dog Syndrome” ponders the fact that dogs are never
killed or otherwise die in movies. The “Feedback Rule” says that whenever a microphone
is used, there will be feedback noise.
Cliché scenes, like cliché characters, can be viewed by different viewers as either
an amusing or Watch Pina Online Free an irritating feature. In a movie-saturated world, we are self-conscious
about watching countless movies, and so many movies let us know humorously when
clichés, scenes and dialogues that we have been exposed to many times, are being used
yet again. Independence Day is cheerfully self-consciously sprinkled with references to
other science-fiction movies, which the audience, well versed in movies, can take
pleasure in identifying, as a good game and as a reward for its own sophistication. As the
best criticism and the best poetry are rich in associations, so, it may be added, without
going into the question of how movies and television are eroding literacy, are movies.
Teachers who find that Hollywood film characters tend to be clichéd might have
doubts and reservations using movies for their English language classes insofar as they
“enhance and reinforce stereotypical behavior” (Kraez 1996). This caveat can be resolved
if the teacher can explain to the class what it is about the stereotyped characters’
behaviour that may be offensive. However, it is an on-going debate, with thousands of
inconclusive studies on the impact of television violence, as to what extent movies and
television passively mirror society and provide entertainment, or actively shape people’s
attitudes, for better or worse (Powers, Rothman & Rothman 1996:10, 40). As Hollywood
movies are particularly open to different impressions, it is often difficult to speak for
everyone in saying that a character is offensive.
