Lee's motion picture is largely meant to put across the confusion present in some people's lives, as it is not necessarily meant to discuss race-related matters. Lee's film brings reform into a world that is accustomed to respecting traditions when it comes to racial stereotypes. Through watching this film, people are likely to consider that race is not important when taking into account a relationship. Factors that would normally make people feel that they belong to separate worlds can actually make them consider that they need to stay together. Lee's version of interracial relationships makes it possible for viewers to comprehend that two people can strengthen their relationship as a consequence of having society impose its discriminatory attitudes on them. At the point where their families reject them, Flipper and Angela decide to move together hoping that this would put an end to their problems and considering that it is best for them to focus on those who care for them instead of allowing themselves to be negatively influenced by their families. These two practically feel that the best solution to their problems is to act in disagreement with society's norms. In their attempt to find their personal identity, they try to do anything in their power in order to continue their journey through...
Even though they come across several situations where they are made uncomfortable, they feel that they have to go on.
Despite the more commercial and thrilling aspect of this film, Lee retains his trademarks, from close-up shots to his signature floating shot and infusion of music and athletic iconography. Lee continues to infuse his films with social and political commentary. Although he has not made as many feature films in recent years as he did in the past, he continues to produce and direct works that focus on social issues,
Malcolm X: Director Spike Lee's Portrait Of An American Hero Malcolm X was not a man who could be easily characterized and the same is true for Spike Lee's 1992 film. Malcolm X was a labor of love for Lee, who was only thirty-five at the time of the film's release. Lee had been a young child when Malcolm X was assassinated, so his knowledge of the man was not based
" The Aftermath Uncle Tom characters were common in both white and black productions of the time, yet no director before Micheaux had so much as dared to shine a light on the psychology that ravages such characters. By essentially bowing to the two white men, Micheaux implied that Old Ned was less than a man; an individual whittled down to nothing more than yes-man and wholly deprived of self-worth. At this
Shaft flashes a police badge to criminals in the first part of the movie, establishing his role as the "good" guy in the film, although he is from the same "underworld" as the rest of the black criminals in the movie. This film, as many others, show that the black hero, as Stainfield states can gain "dominion over the urban space of the street" which "holds out the promise
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