Implications for English Language Teaching

Total Page:16

File Type:pdf, Size:1020Kb

Implications for English Language Teaching Durham E-Theses An investigation into how Chinese college students make sense of lms and TV series from an intercultural perspective: Implications for English language teaching YANG, HUI How to cite: YANG, HUI (2011) An investigation into how Chinese college students make sense of lms and TV series from an intercultural perspective: Implications for English language teaching, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/779/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 An Investigation into How Chinese College Students Make Sense of Films and TV Series from an Intercultural Perspective: Implications for English Language Teaching (Linda) Hui Yang A Thesis submitted for the degree of Doctor of Philosopy in Education School of Education February 2011 ii For my parents and my husband. 献给我的父母和我的丈夫。 iii iv Abstract Title: An Investigation into How Chinese College Students Make Sense of Films and TV Series from an Intercultural Perspective: Implications for English Language Teaching Author: (Linda) Hui Yang Abstract: This study investigates how Chinese College Students (CCSs) make sense of foreign films and TV series from an intercultural perspective, and then explores the theoretical and pedagogical implications of the findings on the use of foreign films and TV series in English language teaching, particularly for developing students’ intercultural communicative competence. The study employed a questionnaire survey and multiple-stage semi-structured interviews. Research subjects were second-year or above CCSs with students from 15 Beijing universities participating. The empirical findings suggest that: • In the Chinese context, foreign films and TV series are the main resource Chinese college students use, and the one they prefer to use, to learn about the U.K. and the U.S.A. • Making sense of foreign films and TV series is a highly complex and dynamic process which is culturally specific. Chinese college students’ undertake sense-making activities which fall into five main categories: 1) comprehending the plot; 2) compare: identifying differences; 3) compare: identifying similarities; 4) re-contextualizing; and 5) perceiving as realistic. These sense-making activities tend to be intertwined and occur on various levels. • These sense-making activities affect Chinese college students’ understanding of and attitudes to foreign people and culture, as well as to local people and culture. A Foreign Media Sense-Making (FMSM) model is developed based on the sense-making activities identified and the variables which influence them. This model provides a theoretical framework suggesting how foreign films and TV series can be used to develop students’ intercultural communicative competence in the English language teaching classroom, and an intercultural approach to the use of foreign films and TV series in ELT is suggested. The findings give valuable insights and have practical implications for those interested in using foreign films and TV series in ELT. The FMSM model provides a conceptual framework and useful resource for the development of future research and teaching programmes. v vi Table of Contents Abstract ........................................................................................................................................ v Table of Contents ........................................................................................................................ vii Acknowledgements ...................................................................................................................... xi Declaration .................................................................................................................................. xii Statement of Copyright ............................................................................................................... xii Chapter One: Introduction ........................................................................................................... 1 Chapter Two: Research Context ................................................................................................... 6 2.1 Education Systems in China ........................................................................................... 6 2.1.1 School Education System .................................................................................. 7 2.1.2 English Language Education in the School Education System ............................. 7 2.2 Media Censorship and Piracy in China ........................................................................... 9 2.2.1 Media Censorship in China .............................................................................. 10 2.2.2 Media Piracy in China ..................................................................................... 11 2.3 Chapter Summary ........................................................................................................ 12 Chapter Three: Literature Review............................................................................................... 13 3.1 Mass Media Communication & Effects......................................................................... 13 3.1.1 Mass Communication Models ......................................................................... 14 3.1.2 Media Effects .................................................................................................. 19 3.2 Intercultural Communicative Competence in ELT ......................................................... 25 3.3 Films & TV Series in ELT ............................................................................................... 32 3.3.1 Films in ELT: Non-Chinese Context .................................................................. 32 3.3.2 TV Series in ELT: Non-Chinese Context ............................................................ 41 3.3.3 Films in ELT: Chinese Context .......................................................................... 41 3.3.4 Summary ........................................................................................................ 51 3.4 Conclusion ................................................................................................................... 54 Chapter Four: Empirical Study, Research Questions and Methodology ...................................... 56 4.1 Research Questions ..................................................................................................... 56 4.2 Research Methodology ................................................................................................ 58 4.2.1 Questionnaire ................................................................................................. 58 4.2.2 Semi-structured Interview .............................................................................. 61 4.3 The Pilot Study ............................................................................................................ 65 4.3.1 Pilot Questionnaire ......................................................................................... 66 vii 4.3.2 Pilot Semi-structured Interview ....................................................................... 67 4.3.3 Reflections on the Pilot Study .......................................................................... 67 4.4 Ethics Issues ................................................................................................................. 68 4.5. Fieldwork .................................................................................................................... 71 4.5.1 Sampling ......................................................................................................... 71 4.5.2 Data Collection ................................................................................................ 72 4.6 Validity and Reliability .................................................................................................. 74 4.7 Data Analysis Techniques ............................................................................................. 79 4.7.1 Grounded Theory ............................................................................................ 80 4.7.2 Bilingual Coding Techniques ............................................................................ 80 4.7.3 Bilingual Data Presentation ............................................................................. 83 4.8 Valuable Extra .............................................................................................................. 84 Chapter Five: Data Analysis – Research Questions 1 & 2 ............................................................. 85 5.1 Research Question 1 .................................................................................................... 86 5.2 Research Question 2
Recommended publications
  • Spring Magazine Dean’S Welcome Spring 2015
    Spring Magazine Dean’s Welcome Spring 2015 We welcome spring and the beauty of its message, both literal and figurative, that this is a time to start fresh, to bloom, and to smell the roses. The School of Humanities is itself springing forward—six faculty books have published since January with three more coming out in April, innovative new courses are being offered, our students are completing award-winning research and we continue to build relationships with foundations and community leaders who believe in our mission. Inside of this magazine, we pick up from where we left off in our Annual Report. You’ll get an in-depth look at what our faculty, students and alumni are accomplishing. I express my gratitude to professors Jonathan Alexander, Erika Hayasaki, Tiffany Willoughby-Herard, Claire Jean Kim and Kristen Hatch for sharing their latest research with us; to students Jessica Bond and Jazmyne McNeese for letting us see how studying the humanities is shaping their worldviews and life ambitions; and to alumnae Pheobe Bui and Aline Ohanesian for showing us where a humanities education has taken them today. I encourage you to keep in touch with us and the school’s latest developments by joining on us Facebook and Twitter and by staying tuned every second Tuesday of the month for timely faculty-led insight into today’s most topical issues via Humanities Headlines, our exclusive webinar series. If you are local, take a look at the events listed at the end of the magazine--we’d love to see you there. Sincerely, Georges Van Den Abbeele Dean, School of the Humanities SCHOOL UPDATES SPRING | 2015 3 Humanities Studio Embodies UCI’s Global Mission with Language Tools & World-Class space where students and faculty can learn, teach, and conduct research with support from staff who understand their needs,” said Franz.
    [Show full text]
  • Lessons Learned from Justice Ruth Bader Ginsburg
    LESSONS LEARNED FROM JUSTICE RUTH BADER GINSBURG Amanda L. Tyler* INTRODUCTION Serving as a law clerk for Justice Ruth Bader Ginsburg in the Supreme Court’s October Term 1999 was one of the single greatest privileges and honors of my life. As a trailblazer who opened up opportunities for women, she was a personal hero. How many people get to say that they worked for their hero? Justice Ginsburg was defined by her brilliance, her dedication to public service, her resilience, and her unwavering devotion to taking up the Founders’ calling, set out in the Preamble to our Constitution, to make ours a “more perfect Union.”1 She was a profoundly dedicated public servant in no small measure because she appreciated just how important her role was in ensuring that our Constitution belongs to everyone. Whether as an advocate or a Justice, she tirelessly fought to dismantle discrimination and more generally to open opportunities for every person to live up to their full human potential. Without question, she left this world a better place than she found it, and we are all the beneficiaries. As an advocate, Ruth Bader Ginsburg challenged our society to liber- ate all persons from the gender-based stereotypes that held them back. As a federal judge for forty years—twenty-seven of them on the Supreme Court—she continued and expanded upon that work, even when it meant in dissent calling out her colleagues for improperly walking back earlier gains or halting future progress.2 In total, she wrote over 700 opinions on the D.C.
    [Show full text]
  • Sagawkit Acceptancespeechtran
    Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................
    [Show full text]
  • LOUDER THAN a BOMB FILM CURRICULUM E Dited B Y a Nna Festa & Gre G Ja C Obs
    1 LOUDER THAN A BOMB FILM CURRICULUM CREATED BY KEVIN COVAL EDITED BY ANNA FESTA & GREG JACOBS TABLE OF CONTENTS INTRODUCTION The Film The Pedagogy The Curriculum ACTIVITIES 1 HOME Adam Gottlieb Kevin Coval & Carl Sandburg 2 EGO TRIPPIN’ Nate Marshall Nikki Giovanni & Idris Goodwin 3 THE PORTRAIT Nova Venerable William Carlos Williams 4 PERSONA: VOICING AMERICAN ARCHETYPES Lamar Jorden Patricia Smith 5 GROUP PIECE PART #1: THE CHOREOPOEM as COMMUNITY Theater The Steinmenauts 6 GROUP PIECE PART #2: THE CHOREOPOEM as COMMUNITY Theater The Steinmenauts Ntozake Shange GLOSSARY END NOTES CONTACT 2 ABOUT THE FILM DIRECTORS JON SISKEL & GREG JACOBS As is the case with so many documentary subjects, we stumbled on Louder Than a Bomb completely by accident. One late winter weekend, Greg happened to drive by the Metro, a legendary Chicago music venue, and saw a line of kids that stretched down the block. What made the scene unusual wasn’t just the crowd—it was what they were waiting for: the marquee read, “Louder Than a Bomb Youth Poetry Slam Finals.” Teenagers, hundreds of them, of every shape, size, and color, lined up on a Saturday night to see poetry? In Chicago!? Whatever this thing is, it must be interesting. The more we saw, the more convinced we became that, in fact, it was. There was the LTAB community—a remarkable combination of democracy and meritocracy, where everyone’s voice is respected, but the kids all know who can really bring it. There were the performances themselves—bold, brave, and often searingly memorable. And there were the coaches, teachers, and parents, whose tireless support would become a quietly inspiring thread throughout the film.
    [Show full text]
  • The Reimagined Paradise: African Immigrants in the United States, Nollywood Film, and the Digital Remediation of 'Home'
    THE REIMAGINED PARADISE: AFRICAN IMMIGRANTS IN THE UNITED STATES, NOLLYWOOD FILM, AND THE DIGITAL REMEDIATION OF 'HOME' Tori O. Arthur A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2016 Committee: Radhika Gajjala, Advisor Patricia Sharp Graduate Faculty Representative Vibha Bhalla Lara Lengel © 2016 Tori O. Arthur All Rights Reserved iii ABSTRACT Radhika Gajjala, Advisor This dissertation analyzes how African immigrants from nations south of the Sahara become affective citizens of a universal Africa through the consumption of Nigerian cinema, known as Nollywood, in digital spaces. Employing a phenomenological approach to examine lived experience, this study explores: 1) how American media aids African pre-migrants in constructing the United States as a paradise rooted in the American Dream; 2) immigrants’ responses when the ‘imagined paradise’ does not match their American realities; 3) the ways Nigerian films articulate a distinctly African cultural experience that enables immigrants from various nations to identify with the stories reflected on screen; and, 4) how viewing Nollywood films in social media platforms creates a digital sub-diaspora that enables a reconnection with African culture when life in the United States causes intellectual and emotional dissonance. Using voices of members from the African immigrant communities currently living in the United States and analysis of their online media consumption, this study ultimately argues that the Nigerian film industry, a transnational cinema with consumers across the African diaspora, continuously creates a fantastical affective world that offers immigrants tools to connect with their African cultural values.
    [Show full text]
  • Episode 8: the Action Pack
    Episode 8: The Action Pack Female: You are listening to the Slack Male: Variety pack Female: A collection of stories about work, Male: Life, and everything in between. Female: Brought to you by Slack. If you don't know what slack is, head over to Slack.com and change your working life forever. Female: On this episode, what if physical stores started acting like online stores? Male: Here's a pair of underwear too. Female: What? Male: Customers who bought this socks also bought this underwear. Female: Okay. Yeah. I'll get those too. Female: Learn about a list that's empowering writers and affecting Hollywood for the better. Male: Movies that have been made from scripts that were on the annual black list: Whiplash, American Sniper, Selma, A King Speech, The Descendants. Female: Meet the man who could not be more excited about the coming era of Bots. Male: I just love them and I wake up in the morning thinking like, "Oh, I know what the Bot can do now". Female: But first, what if HR departments were run by school kids? Male: Slack variety pack? Male: Yeah. Male: Cool. Female: Making work less worky. Episode 8 – The Action Pack Page 2 of 14 Male: Sometimes, we tend to over think the way to solve problems in the workplace. Maybe it's because most companies have codes of conducts that are thicker than an old phone book. We thought it might be time to get back to basics. We took some of the most common employee problems to a group of kids.
    [Show full text]
  • Nothing Happened
    NOTHING HAPPENED A History Susan A. Crane !"#$%&'( )$*+,'-*". /',-- Stanford, California !"#$%&'( )$*+,'-*". /',-- Stanford, California ©2020 by the Board of Trustees of the Leland Stanford Junior University. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of Stanford University Press. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data Names: Crane, Susan A., author. Title: Nothing happened : a history / Susan A. Crane. Description: Stanford, California : Stanford University Press, [2020] | Includes bibliographical references and index. Identifiers: LCCN 2020013808 (print) | LCCN 2020013809 (ebook) | ISBN 9781503613478 (cloth) | ISBN 9781503614055 (epub) Subjects: LCSH: History—Philosophy. | Collective memory. Classification: LCC D16.9 .C73 2020 (print) | LCC D16.9 (ebook) | DDC 901—dc23 LC record available at https://lccn.loc.gov/2020013808 LC ebook record available at https://lccn.loc.gov/2020013809 Cover design: Rob Ehle Cover photos: Historical marker altered from photo (Brian Stansbury) of a plaque commemorating the Trail of Tears, Monteagle, TN, superimposed on photo of a country road (Paul Berzinn). Both via Wikimedia Commons. Text design: Kevin Barrett Kane Typeset at Stanford University Press in 11/15 Mercury Text G1 A mind lively and at ease can do with seeing nothing, and can see nothing that does not answer. J#$, A0-",$, E MMA CONTENTS INTRODUCTION Episodes in a History of Nothing 1 EPISODE 1 Studying How Nothing Happens 21 EPISODE 2 Nothing Is the Way It Was 67 EPISODE 3 Nothing Happened 143 CONCLUSION There Is Nothing Left to Say 217 ACKNOWLEDGMENTS Thanks for Nothing 223 Notes! 227 Index 239 NOTHING HAPPENED Introduction EPISODES IN A HISTORY OF NOTHING !"#$# %&'()"**# +'( ,#**-.
    [Show full text]
  • NPR ISSUES/PROGRAMS (IP REPORT) - July 1, 2015 Through July 31, 2015 Subject Key No
    NPR ISSUES/PROGRAMS (IP REPORT) - July 1, 2015 through July 31, 2015 Subject Key No. of Stories per Subject AGING AND RETIREMENT 15 AGRICULTURE AND ENVIRONMENT 115 ARTS AND ENTERTAINMENT 246 includes Sports BUSINESS, ECONOMICS AND FINANCE 144 CRIME AND LAW ENFORCEMENT 155 EDUCATION 19 includes College IMMIGRATION AND REFUGEES 44 MEDICINE AND HEALTH 83 includes Health Care & Health Insurance MILITARY, WAR AND VETERANS 43 POLITICS AND GOVERNMENT 348 RACE, IDENTITY AND CULTURE 129 RELIGION 24 SCIENCE AND TECHNOLOGY 89 Total Story Count 1454 Total duration (hhh:mm:ss) 115:11:21 Program Codes (Pro) Code No. of Stories per Show All Things Considered AT 694 Fresh Air FA 52 Morning Edition ME 511 TED Radio Hour TED 11 Weekend Edition WE 186 Total Story Count 1454 Total duration (hhh:mm:ss) 115:11:21 AT, ME, WE: newsmagazine featuring news headlines, interviews, produced pieces, and analysis FA: interviews with newsmakers, authors, journalists, and people in the arts and entertainment industry TED: excerpts and interviews with TED Talk speakers centered around a common theme Key Pro Date Duration Segment Title Aging and Retirement All Things Considered 07/29/2015 0:02:25 From The Silents To Millennials, Debt Burdens Span The Generations Aging and Retirement Morning Edition 07/16/2015 0:03:10 After Years Of Recession, Greeks Fear Bailout Will Only Make Lives Harder Aging and Retirement Morning Edition 07/13/2015 0:03:11 Your Health: Engineering A Shingles Vaccine That Doesn't Wimp Out Over Time Aging and Retirement Morning Edition 07/02/2015 0:03:36 Nike's Phil Knight, 77, To Step Down As Chairman Aging and Retirement All Things Considered 07/28/2015 0:03:46 Happy 50th Birthday, Medicare.
    [Show full text]
  • Mother's Prayer
    mother's prayer our mother who art underfoot, hallowed be thy names, thy seasons come, thy will be done, within us as around us, thank you for our daily bread, our water, our air, and our lives and so much beauty; lead us not into selfishcraving and the destructions that are the hungers of the glutted, but deliver us from wanton consumption of thy vast but finitebounty, for thine is the only sphere of life we know, and the power and the glory, forever and ever, amen adapted by rebecca solnit paradise. could there be a more ominous sound than an unexpected knock at the door? Mother (JENNIFER LAWRENCE) and Him (JAVIER BARDEM) live in a seemingly idyllic existence in a secluded paradise. But the couple’s relationship is tested when man (ED HARRIS) and woman (MICHELLE PFEIFFER) arrive at their home uninvited. Answering that knock disrupts their tranquil existence and as more and more guests arrive, mother is forced to revisit everything she knows about love, devotion and sacrifice. Paramount Pictures presents a Protozoa Production of a film by Academy Award® nominated director, Darren Aronofsky (Black Swan, Requiem for a Dream): Academy Award® winning actress Jennifer Lawrence (Silver Linings Playbook) and Academy Award® winning actor Javier Bardem (No Country For Old Men) in “mother!” co-starring Academy Award® nominee Ed Harris (The Truman show) and Academy Award® nominee Michelle Pfeiffer (The 1 Fabulous Baker Boys). Costume designer is Academy Award® nominee Danny Glicker (Milk) and editor is Academy Award® nominee Andrew Weisblum (Black Swan). Production designer is Philip Messina (The Hunger Games).
    [Show full text]
  • Young Hollywood Actors
    Young Hollywood Actors Young Hollywood Actors How They Got Started, How They Keep Going: Stories & Advice from Your Favorite Performers The Hometown to Hollywood Interviews Volume I Bonnie J. Wallace Copyright © 2018 by Bonnie J. Wallace All rights reserved. Published in the United States by Hollywood Parents Press. ISBN 978-0-9863511-2-9 ISBN 978-0-9863511-3-6 1. Performing Arts. 2. Acting and Auditioning. Library of Congress Control Number: 2018913788 Hollywood Parents Press: Los Angeles, California www.bonniejwallace.com Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of the author of this book. The scanning, uploading, and distribution of this book via the Internet or via any other means without permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions and do not participate in or encourage electronic piracy of copyrightable materials. Your support of the author’s rights is appreciated. While the author has made every effort to provide accurate Internet addresses and resource information at the time of publication, neither the publisher nor the author assumes any responsibility for errors or for changes that occur after publication. In addition, publisher does not have any control over and does not assume any responsibility for
    [Show full text]
  • IN FOCUS: Youth Culture Introduction
    IN FOCUS: Youth Culture Introduction by TIMOTHY SHARY and LOUISA STEIN, editors e set out on this In Focus section with the general intent of bringing together scholars working in contemporary youth media studies. This is our own background, as Louisa has written extensively on teen television shows and the youth fan cultures that surround them, and Tim has examined youth in Ameri- Wcan movies going back to early Hollywood.1 As we began considering established scholars in the fi eld to solicit for contributions, we soon found evidence of the increasing attention to youth concerns beyond traditional fi lm and television texts, as much recent scholarship has focused on children and young adults using and creating social media. This increased attention to youth digital cultures should not have been a surprise given the state of the academy and, more so, the preoccupations of young people today. The youth population is indeed spending less time watching TV and going to movies and more time doing something—anything—on the Internet. When they are watching fi lms and TV programs, they’re often consuming that media online and then transforming their media engagement into authorship in digital venues, creating fan art and fan fi ction, or off ering reviews and critiques through social media networks. Increasingly, youth media engagement is also becoming more mobile because, for a variety of 1 Sharon Ross and Louisa Stein, eds., Teen Television: Essays on Programming and Fandom (Jefferson, NC: McFarland, 2008); Stein, Millennial Fandom: Television Audiences in the Transmedia Age (Iowa City: University of Iowa Press, 2015); Timothy Shary, Teen Films: American Youth on Screen (New York: Wallfl ower, Columbia University Press, 2005); Shary, Generation Multiplex: The Image of Youth in American Cinema since 1980, 2nd ed.
    [Show full text]
  • Cultural Representation in Hollywood
    Phase 1: Research Document Cultural Representation in Hollywood Jasmine Acebes FA/YSDN 3008 Jasmine Acebes FA/YSDN 3008 Table of Contents Topic Description and Position Statement 3-5 Appendix Minority Population Statistics 6-8 Lead Roles and POC 9 Overall Casting Diversity 10-11 Film vs. Television 12 Oscar Awards and POC 13 Every Single Word Spoken by a POC 14 Why Casting Directors Continue to Whitewash… 15 Annotated Bibliography 16-17 2 Jasmine Acebes FA/YSDN 3008 Topic Description and Position Statement Throughout the recent decade of film, there has been no significant statistical improvement of the representation of people of colour. Although groundbreaking films such as Black Panther and Crazy Rich Asians gave viewers hopes of fair representation, the film industry is still significantly behind. In a recent study from July 2018, the USC Annenberg Inclusion Initiative examines inequality in 1,100 popular films from the past 11 years. From this, these recent findings suggest that although there has been public outcry for this social issue, no significant impact has been seen. A key issue revolving around cultural misrepresentation is the term “whitewashing”, which is when Hollywood casts a white character to play a coloured role. Controversial films such as Avatar: The Last Airbender, Doctor Strange, and Ghost in the Shell do exactly this. Another form of this is when a white actor uses make- up, accents, or other features to imitate a character of another race, seen from Mickey Rooney as Mr. Yunioshi in Breakfast at Tiffany’s. Headline : Hollywood consistently lacks diversity and undermines having an accurate representation of minorities in film.
    [Show full text]