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For a culture to become popular, it has to be perceived by the audiences with ease. Complex topics are detached from internal intricacies and sophistication when delivered through popular cultural means. When all details are included, the culture is no longer popular but instead is specialized. Therefore, popular culture cannot discuss items of elevated sophistication. In this context, Cofers claim that popular culture has promoted only a one-dimensional view on topics that are complex in reality is correct; some examples of erroneous stereotypes include the portrayal of Chinese, Russians, and Italians in film.
The portrayal of Chinese characters in Hollywood movies has been the subject of controversy for many years. One prominent example of how American movies perpetrated the image of Chinese culture is the summarization of the entire Chinese customs as kung-fu. Such a depiction has led to the fact that any Chinese is expected to know kung-fu and be proficient at it. However, China has a rich culture that encompasses a broad range of items, and many of them have complexity beyond what martial arts possess (Hai and Dong 90). Another popular stereotype is the image of a submissive Chinese woman, does not have her own opinion, and does not have intellectual capabilities (Hai and Dong 88). There has been a decline in the portrayal of Chinese characters as villains. While one may consider this fact as a sign that Hollywood is fighting against stereotypes, the reality is much simpler. China has become one of the most dominant markets for movie studios, and unfavorably depicting Chinese individuals will lead to negative financial implications (Brook).
Since the advent of cinematography, the majority of movies in the military and action genre involved Russians as primary antagonists. Such films used the stereotypical version of Russians instead of focusing on the overall culture. The Cold War significantly influenced what type of movies were being made at the end of the 20th century. The Soviet Union was portrayed as a villain in almost all movies, and Winston Churchills Iron Curtain speech is the pinnacle of these efforts. In films that depict the events in the United States, Russians are constantly shown as being connected to the mafia (Brook). While there are Russians that often engage in criminal activities, most of them have lives that do not correspond to what is being portrayed in cinema.
Italians or Italian Americans are commonly portrayed in media with pervasive stereotypes. Unlike most Europeans, Italians have been a marginalized group despite their cultural contributions. Their characterization in popular culture is shown as violent or troublesome, fitting into the narrative of mobsters and thugs. While only 0.0025% of Italians Americans participated in organized crime, the origin of mafia and mobster groups in major U.S. cities being Italian contributed to the association. This was further popularized by blockbuster critically acclaimed movies the likes of The Godfather series or Goodfellas which kept upbringing the theme through decades of Hollywood film (Maranzana). It engrained the stereotypes of association of Italians with violence (stereotypical inflammatory characters) and organized crime, even if by association.
Cofer makes a correct claim regarding the media and the use of stereotypes. Foreign cultures are too complex to be able to encompass them within one character or within a single piece of art. Therefore, to avoid this sophistication, pop culture only focuses on distinct characteristics of specific groups and generalizes them for the whole nation. Among the notable examples are the portrayals of Chinese and Russians in American movies of the previous century. Pop culture can also circumvent some stereotypes only to retain profitability and avoid financial implications.
Works Cited
Brook, Tom. Hollywood Stereotypes: Why are Russians the Bad Guys? BBC, 2014, Web.
Maranzana, Stefano. Italian Americans and the mythology of crime: The Godfather paradox. 2015, Web.
Hai, Yan, and Haibin Dong. Asian American Woman Cinematic Image: The Exotic Beauty and/or Perpetual Foreigner. China Media Research, vol. 15, no. 1, 2019, pp. 85-92.
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