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Task:
Section One: 5 answers x 3 marks each = 15
➢ Identify and explain the significance of any five of these points.
➢ Each answer should be one or two complete paragraphs.
➢ Each answer must refer to at least one reading and one film from the syllabus.
Chosen Topics:
1. The politics of representation [238 words]
2. Anomie [239 words]
3. Moral panic [252 words]
4. Ruin porn [265 words]
5. Subaltern Urbanism [218 words]
Total word count: 1, 212 words
ANSWER KEY
1. The Politics of Representation
a. The politics of representation can be defined as something that mainly focuses
on advocacy, voicing out social issues, and symbolizing matters that will be
beneficial to its audience. In essence, it serves as a political assistance in the
context of film. The presence of politics in the areas of film has played a vital,
and critical role in shaping the way audiences perceive the work of a particular
government. To put it simply, film plots and storytelling allows us to distinguish
between the bad guys and the good guys—which is a skill that greatly influences
and impacts us, as watchers, because we are able to exercise the characterization
of characters and other subject matters. An interesting topic that is being raised in
the politics of representation is the concept of domination—wherein it is
suggested as a difficult action that is exercised by the dominant class who
constantly strives for the attainment of coercion.1 Persepolis (2007) is a good
example of a film that contributes to the political beliefs and mindset of the
citizens simply because it starts a conversation through reflections of public
opinion on how the government operates as a whole through raising awareness
towards gender politics, freedom. To quote the film, “freedom always comes at a
price”.2 Fundamentally, film is an avenue for the representation of truths and how
we depict the government through the screen as it offers us symbolizations and
political socialization in general.
2. Anomie
1
Garbin et. al, Territorial Stigma and the Politics of Resistance in a Parisian Banlieue: La Courneuve and Beyond
(2012) p. 2070.
2
Persepolis (2007)
a. The term ‘anomie’ can be defined as a social condition wherein a particular set
of common values and norms are disintegrating in a society, and can be identified
as “normless” because of the disconnection within people and their respective
communities. Similar to the topic discussed above, anomie is something that is
also present in films today. For instance, the documentary entitled: Invisible City
(2009)3 greatly mirrors the concept of anomie because it gives us a tight look and
grasp of the lives of the community members—or the so-called Regent Parkers—
in a dark and mesmerizing perspective to an extent where we feel strongly for
them as watchers. To further strengthen this claim, a researcher suggests that the
media archives, along with a selective number of policy documents, mirrors the
ideology of being able to illustrate the hegemonic common sense of the
community members adopted and resisted overtime.4 In essence, the existence of
anomie in films is highly significant because it allows us to look at the social
instability in different individuals and societies that lead to a downgrade with
regards to their values and standards because the concepts of having purpose and
ideals are not present. Moreover, anomie becomes an essential tool when it comes
to looking at different perspectives and worldview as it allows us to look at
instances and/or situations that reflect on specific communities and societies
through the lens of the people as a whole.
3. Moral panic
3
Invisible City (2009)
James, Ryan, “Like Any Other Neighbourhood”: Neoliberal Urbanism and Social Inclusion in Regent Park, 20022012.” In “‘Keeping the Kids Out of Trouble”: Extra-Domestic Labour and Social Reproduction in Toronto’s
Regent Park, 1959-2012,” (2017) p. 291.
4
a. In relation to anomie, moral panic is related in a limited sense, because it is
defined as a widespread fear as to when something or someone becomes a threat
to a community’s values, interests, and safety. Basically, moral panic is driven by
the media and mostly politicians that lead to sources of panic. Hence, moral panic
becomes an avenue for social control to grow and foster altogether. For instance,
Cohen defines it as an episode or condition where a person/s emerges into
something that is threatening to societal values and is presented in a stereotypical
fashion created by the mass media5. The film entitled: This is England (2006)
shows great significance when it comes to having a deeper understanding of the
nature of moral panic. Its progressive narrative alongside the characters’
influences and tensions that are visible in the film represents the skinhead
culture—a culture that is feared by many British individuals.6 The characters are
perceived to be different in terms of actions and appearances, thus creating this
portrait or image that they are considered to be harmful and risky in the society.
This goes to show that the concept of moral panic and its existence in different
film medias are imperative to know of because it says a lot about different
cultures and subcultures to the point where we, as watchers, become educated and
informed in terms of the more pressing issues that can be seen in the society; such
as oppression, discrimination, inequality, and stereotyping on top of that.
4. Ruin porn
a. Ruin porn can be defined as a film strategy that utilizes the beauty in buildings or
environments that are destroyed and ruined that shows a unique interplay of
5
6
Cohen, Stanley. “Deviance and Moral Panics.” In Folk Devils and Moral Panics, 2011 [1973] p. 1
This Is England (2006)
lighting and shadows that interestingly results in an extreme emotional impact.
Furthermore, ruin porn has become a big genre in the film industry because it
gives viewers of diverse, and wrecked environments while allowing them to feel
safe behind their screens. For instance, it is argued that Only Lovers Left Alive
(2014) is a film that successfully provides images of decay in urban cities that
allows the viewers’ public imagination to be so exciting and troubled whilst
introducing them to the notion of ruin porn.7 The presence of this technique in this
film8 is overall significant because it makes the film more interesting on a
different level. Moreover, the film already brings up relevant issues in a
philosophical sense such as misery, beliefs, and realizations as a whole. Thus, ruin
porn is something that can be considered as artistic and dramatic as it completely
alters the scene, mood, and feel of a particular film such as the example stated in
this segment. In essence, ruin porn allows plots to unfold creativity and
imagination through the existence of destroyed objects that challenges and
represents the world as a place that is not nearly close to perfect. There is no
question that ruin porn is a great way to look at things and settings differently—
allowing us to see the world not only in a positive light, but also in a light that
shows beauty in ruins and/or destruction.
5. Subaltern Urbanism
a. Subaltern Urbanism is a complex term that can be defined and be easily
misunderstood because of its broad meaning. According to an article, subaltern
7
Irwin, Matthew. ‘Your Wilderness:’ The White Possession of Detroit in Jim Jarmusch’s Only Lovers Left Alive.”
Capitalism Nature Socialism 24, no. 4, (2017). p. 3.
8
Only Lovers Left Alive (2014)
urbanism undertakes megacity and its theorization through different subaltern
spaces, as well as subaltern classes where in the term ‘slum’ is the most dominant
and prominent and highlights emergent strategies that are analytical, and utilizing
theoretical categories that showcases underdeveloped aspects such as the
megacity, the slum, and the mass politics.9 An example of a film where subaltern
urbanism is relevant and shown is Slumdog Millionaire (2008). For instance, this
movie shows a variety of slums present in Mumbai and combining it into a
composition that has resulted in it being Asia’s largest slum area, and has been
perceived this way ever since. The film alongside its story and inspiring
characters focuses on the conveyance and portrayal of the ‘slum’ and highlights
the concept of poverty existing in India. Thus, subaltern urbanism challenges
social differences in classes and economic inequality through the production of
films that takes particular emphasis on spaces that are considered and often
associated with poverty, or a place that qualifies as a “ghetto” area.
Fundamentally, subaltern urbanism plays an important role in showcasing
unspoken and unseen instances that affect a certain metropolitan and its people
through the power of film.
References:
Cohen, Stanley. 2011 [1973]. “Deviance and Moral Panics.” In Folk Devils and Moral Panics, 120. New York: Routledge.
Garbin, David and Gareth Millington. 2012. “Territorial Stigma and the Politics of Resistance in
a Parisian Banlieue: La Courneuve and Beyond.” Urban Studies 49, no. 10, 2067-2083.
9
Roy, Ananya. “Slumdog Cities: Rethinking Subaltern Urbanism.” International Journal of Urban and Regional
Research 35, no. 2, 223-238. 2011.
Irwin, Matthew. 2017. “‘Your Wilderness:’ The White Possession of Detroit in Jim Jarmusch’s
Only Lovers Left Alive.” Capitalism Nature Socialism 24, no. 4, 78-95.
James, Ryan. 2017. “Like Any Other Neighbourhood”: Neoliberal Urbanism and Social
Inclusion in Regent Park, 2002-2012.” In “‘Keeping the Kids Out of Trouble”: ExtraDomestic Labour and Social Reproduction in Toronto’s Regent Park, 1959-2012,” 240285. PhD Diss, York University.
Persepolis (2007)
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.” International Journal of
Urban and Regional Research 35, no. 2, 223-238.
Slumdog Millionaire (2008)
This is England (2006)
Only Lovers Left Alive (2013)
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READ: Hi student, this document includes the answers to the multi-part you have provided in
your question. I suggest you read the documents thoroughly to avoid problems. Thank you! No
outline is needed for this one since it is a multi-part question, not an essay.
Task:
➢ Answer any three of the following questions.
➢ Each answer should be two or three complete paragraphs.
➢ Be sure to follow the specific requirements for sources for each question.
Chosen Questions:
1. Compare and contrast portrayals of gentrification in any two films from two different
weeks. From whose perspective is the story told? What is at stake? Also refer to any two
readings that directly address gentrification. [434 words]
2. According to Hayman, how can postmodern theory help explain the significance of the
early hip hop films? Discuss with reference to the Hayman article and at least one of
Beat Street, Krush Groove, or Wild Style. [328 words]
3. According to Ananya Roy, how does Slumdog Millionaire treat Dharavi as a metonym?
Do you think this is a valid critique of the film? The only required sources for this
question are Slumdog Millionaire and Roy’s article. [351 words]
Total word count: 1, 113 words
Paragraph count for each question: 2 paragraphs
ANSWER KEY
1. Compare and contrast portrayals of gentrification in any two films from two different
weeks. From whose perspective is the story told? What is at stake? Also refer to any two
readings that directly address gentrification.
With no question, gentrification has been an essential tool in terms of showing different
walks of life through film. For instance, it has been something that defines class,
standards, and displacement as an outcome of gentrification processes. Moreover, it plays
an important role in showing class struggles that shape different cultures and
neighborhoods. The films Slumdog Millionaire1 and Persepolis2 are both movies who
showcase the notion of gentrification, however, shown in completely different ways. To
go more in-depth with the discussion, Slumdog Millionaire is mainly focused on class
conflict and romance. Furthermore, the movie reflects cultural boundaries and dramatizes
poverty, crime, and redemption. In context with how the film shows gentrification, the
main character, Jamal strategically joins a television show that will eventually lead him to
financial stability and the girl of her dreams. It is also noteworthy that his brother Salim,
is different because he led a life that is in line with crime in order for him to seek fortune.
In essence, the gentrification process in this film is romanticized in terms of Jamal’s
situation, on the other hand, Salim’s actions resulted negatively and led him to his own
death.
1
2
Slumdog Millionaire (2008)
Persepolis (2007)
To compare, Persepolis is a movie that showcases gentrification in a positive light, as
compared to the other film discussed mainly because Marji, the main character, used her
own struggles to combat political negativity and beliefs at a very young age. Throughout
the film, it is evident that she was influenced by her parents’ westernized beliefs that has
led to the development of her ‘inner conflict.’ Unlike in Slumdog Millionaire, Persepolis
focuses on activism, rather than romance and crime, as a tool for gentrification to be
present. To cite a study, it is suggested that there has been a noticeable shift from fear to
romanticism in the production of films that has led to the progression of urban imagery.3
Although both films have their differences, they also have their similarities. For instance,
both films show and convey that gentrification can be driven due to social issues such as
poverty, inequality, and oppression. Hence, the characters’ hardships and struggles ever
since they were young became an avenue for their lives and identities to be completely
altered to a high extent. Essentially, both of these films recognize the gap between social
classes and existing issues that are harmful in society and its people. In addition, both
perspectives were shown through the lens of the main characters, specifically Jamal and
his brother, as well as Marji herself—and their difficult life circumstances go to show that
their lives are the ones at stake, or at risk.
3
Smith, Neil. 1996. “Preface” and “Class Struggle on Avenue B’: The Lower East Side as Wild Wild West.” In The
New Urban Frontier: Gentrification and the Revanchist City, xv-xxi & 3-27. New York: Routledge.
2. According to Hayman, how can postmodern theory help explain the significance of the
early hip hop films? Discuss with reference to the Hayman article and at least one of Beat
Street, Krush Groove, or Wild Style.
Postmodernism in film helps in forming ideas, thought, and themes through a cinematic
medium—it creates a structural narrative and characterization that challenges the
audiences’ belief in mainstream conventions. According to Hayman,4 There is a need for
intervention on a close analysis of hip-hop music, however, in analyzing aesthetics, it
becomes an easy task to fall into subjective values of judgments most especially if these
judgments are linked to the notions of authenticity. The movie entitled: Kush Groove5 is a
film that deals with the importance, essence, as well as nature of rap. Here, the main
character is an ex-con who earned respectability by saving a particular neighborhood
from a developer who happens to be greedy through the power of rap.
To cite a reference, a certain scene6 from the film shows diversity, uniqueness, and
expression that are mainly focused on hip-hop culture and the arts. Hence,
postmodernism is being shown as a concept that departs the viewers from modernism as
this scene is a way to tell a story that is far from the typical or ordinary happenings in real
life. For instance, this scene portrayed an experience wherein the characters just started
singing out of nowhere; which is something we don’t often see, unless through an actual
4
Hayman, Casey. 2013. “Melle Mel in the Megaplex: Postmodern Performance and the Hip-Hop ‘Real’ in ‘Krush
Groove’ & ‘Beat Street’.” African American Review 46, no. 1, 117-32.
5
Krush Groove (1985)
6
Krush Groovin’ (1985). YouTube, 2013. https://www.youtube.com/watch?v=QYYlxyaHylk.
performance. Moreover, the film structure is unique from most hip-hop productions
mainly because Kush Groove is a movie that actually contributed to the development of
hip-hop culture and the advancement of films in general. Hayman7 also argues that the
opening sequence of Kush Groove is a great vision of hip-hop that is mainly focused on
multiculturalism and rapping as a source of profit. Thus, further strengthening the fact
that this particular film has become an avenue for the hip-hop culture to grow and foster
in different communities and societies as it emphasizes the capabilities and potential of
rap in attaining life goals and breaking barriers that are linked to oppression and
discrimination within people of color through music and art.
3. According to Ananya Roy, how does Slumdog Millionaire treat Dharavi as a metonym?
Do you think this is a valid critique of the film? The only required sources for this
question are Slumdog Millionaire and Roy’s article.
Looking at Ananya Roy’s article,8 I do think the way he presented and expressed Dharavi
being a metonymy in Slumdog Millionaire is a valid critique of the film. To put this into
a more clear perspective, the film shows several scenes that help viewers perceive
Dharavi as an environment. For instance, in one of the earlier scenes,9 the film shows
how prominent and large poverty is in Dharavi. To be more specific, this part of the
movie has a shot where it clearly shows the demographic and geographic attributes of
7
Hayman, Casey. 2013. “Melle Mel in the Megaplex: Postmodern Performance and the Hip-Hop ‘Real’ in ‘Krush
Groove’ & ‘Beat Street’.” African American Review 46, no. 1, 117-32.
8
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.” International Journal of Urban and
Regional Research 35, no. 2, 223-238.
9
Slumdog Millionaire. YouTube, 2015. https://www.youtube.com/watch?v=Fs9w-MnZp-4.
the so-called slum area. The author10 also argues that the variety of slums in Mumbai are
combined into a singular composition that has led to the interpretation of Dharavi being
Asia’s largest slum—meaning a place where poverty and hardship exists, but also a busy
place of enterprise, non-stop activity, as well as humor. Thus, further implying that
Dharavi is can be represented and interpreted in different ways which range from positive
to negative aspects.
However, despite the fact that I do think it is a valid critique, I do see a slight problem
when it comes to Slumdog Millionaire11 treating Dharavi as a metonym for poverty and
slums mainly because personally, I find it derogatory in a sense that people living in that
particular area is being downgraded, or downplayed. Although the intention was, maybe,
good—I do agree with what Crerar12 noted about the representation of Dharavi being
derogatory in general. With no question, Slumdog Millionaire is a film that shows the
reality within the slums in India, and this allows viewers to have a tight grasp of where
Dharavi’s culture is heading to; a culture that is more than just poverty, but a place filled
with diversity and resilience within its people. However, the way it was represented and
used as a metonymy can also lead to misunderstandings within viewers such as I am—as I
often associate Dharavi as an area for crimes and danger to flourish as a whole because of
the way it was expressed in Slumdog Millionaire.
References:
10
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.” p. 227.
Slumdog Millionaire (2008)
12
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.” p. 225.
11
Hayman, Casey. 2013. “Melle Mel in the Megaplex: Postmodern Performance and the
Hip-Hop ‘Real’ in ‘Krush Groove’ & ‘Beat Street’.” African American Review
46, no. 1, 117-32.
Krush Groove (1985)
Persepolis (2007)
Slumdog Millionaire (2008)
Slumdog Millionaire. YouTube. YouTube, 2015.
https://www.youtube.com/watch?v=Fs9w-MnZp-4.
Smith, Neil. 1996. “Preface” and “Class Struggle on Avenue B’: The Lower East Side as
Wild Wild West.” In The New Urban Frontier: Gentrification and the Revanchist
City, xv-xxi & 3-27. New York: Routledge.
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.” International
Journal of Urban and Regional Research 35, no. 2, 223-238.
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Task: Choose one of the questions to answer and make sure to use internal sources.
Chosen Question: Much of the early urban studies literature was preoccupied with juvenile
delinquency. Analyze some portrayals of unruly youth in any three films and any three readings
covered in the course. What makes kids misbehave and rebel?
Outline
➢ Introduction
○ Introduce urban studies and juvenile delinquency in film
■ Smith, Neil (1996)
○ Introduce the three chosen films and give a brief background (directors,
characters, dates)
➢ Thesis Statement
○ Main Argument of the Paper
○ Aim and Standpoint of the Paper
➢ Discussion
○ P1: Slumdog Millionaire
■ Roy, Ananya (2011)
○ P2: This is England
■ Snelson and Sutton (2013)
○ P3: Persepolis
■ Garbin and Millington (2012)
➢ Conclusion [100]
➢ Bibliography
Sources Used (please refer to the other document for proper citation)
Total Word count and page count: 140 words, 5 full pages
JUVENILE DELINQUENCY IN FILMS: AN AVENUE FOR REBELLION AND
MISCONDUCT TO FLOURISH
Introduction
[352 words] Analyzing films plays an essential role when it comes to critical thinking and
diverse perception and viewpoints to flourish within the audience as a whole. With no question,
several ways of analysis is suited in terms of studying the avant-garde film that is offered by
mainstream of film theory and criticism; where these approaches have the ability to examine
specific visual aspects of films and distinguish the innate difference between the critics’ thought
and the film artists’ “visual thinking” in general.1As the film industry advances and develops, the
more we see different aspects that we do not often see in films, such as the concepts of urban
studies and juvenile delinquency. For instance, the movies entitled: Slumdog Millionaire2 by
Danny Boyle, Persepolis3 by Marjane Satrapi, and This is England4 by Shane Meadows, are
movies that have characters who embody the notion of rebellion and misbehavior or misconduct
within communities and societies. To be more specific, the characters Salim, Marji, and Shaun
are all characters—all coming from the three films—who are victims of the bad influence, diverse
beliefs, and the presence of poverty which led them to a state of rebellion and actions that are not
recommended in the society—actions that are risky, and seen as a threat by many as it alters the
state of the community to a limited extent, such as protesting, being involved in criminal acts at a
very young age, as well as projecting harm onto others. In essence, this paper aims to identify the
1
Spadoni, Robert. 2014. “Chapter 1: Film as Form.” In Pocket Guide to Analyzing Films, 1-46. Berkeley:
University of California Press.
2
Slumdog Millionaire (2008)
3
Persepolis (2007)
4
This is England (2006)
portrayals of the unruly youth characters mentioned above and identify the contributing factors
as to why they are engaged in rebellion and misconduct that shapes their identities and characters
in the respective films through extensive research and readings from lectures. Moreover, the
student believes that the images of these characters go to show that juvenile delinquency is a
common problem that needs to be addressed within the youth mainly because it puts the youth at
risk, and even death. Fundamentally, there are similarities that are noticeable within these
characters—and this is an aspect that will be discussed later on through the paper.
Discussion
[376 words] Moving onto the first movie to be analyzed in this paper, Slumdog
Millionaire5 is a good example of a production that represents a character who is unruly in his
youth days. This character’s name is Salim Malik, who happens to be the brother of the main
character, Jamal Malik. There is no doubt that Salim had one of the most interesting character
developments throughout the film as he has shown strength and sacrificial aspects any older
sibling would do. For instance, Salim is seen to be a character who lacked guidance from parents
upon growing up, hence why he has led a life that was centered on criminal acts, specifically,
being involved in some sort of a gang or group that focuses on using children as a means of
earning profit. A relevant article that can be incorporated to this discussion is Roy Anyana’s
study6 where he claims that the narratives of the ‘slum’ is the most prominent aspect that is
shown in the film. Thus, implying that poverty is being highlighted in Slumdog Millionaire.
Unfortunately, these difficult circumstances and multiple trauma have put Salim into a negative
5
Slumdog Millionaire (2008)
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.” International Journal of Urban and
Regional Research 35, no. 2, 223-238.
6
life that promotes the ideals of wrongdoings. To give an example, there is a particular scene
where Salim is shown to be an antagonist in the film. In this clip7, he shows dominance through
the power of violence by pointing a gun to multiple men and even his own brother; here, it is
clearly evident that he is going to become the right hand of a boss who is ‘looking for people’
who are as fearless and as brave as Salim—undoubtedly, he was blinded by power, control,
ownership, and money that has become an avenue for him to live a dangerous life where several
deaths and other forms of crimes occur. Thus, Salim’s character could be seen as someone who
became misbehaved and troubled because of the desire and need to live a life that is more
powerful, a culture where no one could touch him simply because people are afraid of him.
Essentially, Salim Malik is a symbol and a representation of a kid who had a life that was d…
