Because Officer Tom never arrested Mr. Thayer who was hiding the real criminal Anthony in the car with him, Anthony then got the opportunity to sell some Asian immigrants that were in a van that he stole. However, instead of getting the money in return for these people, he let them go. He was truly a savior, a guardian angel for these people who were destined for a life of slavery and misery, and instead of going along with what was bound to happen to them anyway, he chose a different path and gave them a second chance at life.

The "Guardian Angel" concept was truly valued by the character Farhad who was about to commit a crime that he did not truly want to commit, but was just fed up with the way he was treated and the way things were going. He purchased a gun and bullets that his…...

If this is true, than how is institutionalized white racism blameworthy at all, if all groups feel hatred of what is foreign or different? The constant ironic juxtaposition of different racist scenes of different ethnic groups further undercuts the film's condemnation of police violence, given that Ryan's anger seems to be an expression of something that is bubbling within the hearts of everyone -- black, white, brown, and 'other.'
Furthermore, it is Officer Hanson, Ryan's partner, is the 'white knight' of the film, not his black supervisor, and even he reacts with culturally ingrained racism and shoots an African-American man, as a result of his training. If Hansen cannot be trusted, one might ask, who can? The most forceful critiques of racist society are those articulated by young black men, who at first seem quite articulate, but then are shown to validate the prejudices they condemn. This seems like a…...

lack gangsters can be kind hearted and cowards, timid black film directors can face a whole legion of police officers, pro-white police officers can risk their lives with the purpose of saving black women, and righteous white police officers can coldly murder black individuals. The previous sentence basically describes most climaxes in the film.
People discriminate all the time and no one can claim that he or she did not employ prejudice concerning a particular individual at a certain moment in his or her life. However, one needs to know when it is essential for him or her to abandon prejudice in favor of trying to understand and even help an individual. Living in an environment dominated by a single racial group made it possible for me to develop particular thinking concerning people belonging to other racial groups. However, I gradually learnt that one needs to judge people on account…...

Interestingly, this is a stereotype that she herself promotes, rather than having it imposed on her by others or by external prejudices.
In the film, most prejudice seems to be externally imposed rather than being perpetuated by the persons themselves. One exception to this might be the Iranian family, where Farhad and his daughter apparently deliberately speak their native language in the gun shop despite the irritation of the shop owner. When Daniel installs the lock, Farhad does not understand him sufficiently to have his door fixed, with disastrous consequences. One might wonder why his daughter or some other mediator was not there to help them communicate more clearly.

Farhad, also seems to be subject to a very specific cultural pride, which precludes him from either seeking help to understand Daniel, or at least learning English properly. The dismay of the family at the perpetrators of the vandalism not realizing that…...

Crash
Paul Haggis's 2005 drama Crash is a vehicle for exploring social tensions in the United States. Although a huge portion of the film is devoted to race relations, prejudices, and stereotypes, an important meta-narrative also permeates Crash. That is, the film subverts the traditional Hollywood norm to "present working people not only as unlettered and uncouth but also as less desirable and less moral than other people," as Parenti puts it (1). Instead of depicting the members of the middle, upper-middle, and upper classes as being morally, intellectually, and socially superior to those of lower classes, Haggis presents a world in which all people are equally as culpable of creating a dystopian society in America. Each of the characters in Crash is besieged by stereotypes and prejudices that prevent a genuine encounter with others in the multicultural landscape of Los Angeles. Moreover, race is a tag for underclass, and not…...

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References

Haggis, Paul. Crash. Feature Film, 2004.

Holmes, David G. "Paul Haggis's Crash The Civil Rights Movement According to Crash: Complicating the Pedagogy of Integration." College English. Vol. 69, No. 4, p. 314-320.

Middleton, Joyce Irene. "Talking About Race and Whiteness in Crash." College English. Vol. 69, No. 4, p. 321-334.

Parenti, Michael. "Class and Virtue." 1994. Excerpt:  http://xroads.virginia.edu/~DRBR/parenti.html

The old man is involved in a bad accident with his white van, and his wife has an accident on her way to the hospital. We see her being angry and mean at the accident and with the nurse in the hospital, but our feelings are reversed when we understand the pressure and strain she is under having thought that her husband was dead. Then comes the ultimate reversal -- it is revealed that the old man's van had contained human slaves, and the first thing he asks of his wife is to cash the check that he received as payment for transporting them. Crash shows us that all people are capable of eliciting responses of admiration and disgust. The final scene of the movie shows Ludacris setting the would-be slaves free (another reversal of character), followed by another minor car crash that seems to suggest the whole thing…...

It is about person-to-person interactions, and though many -- most, even -- of the interactions in Crash are racially charged, race itself is not actually the focus. Haggis takes a far more narrow and specific view of the issue, according to UC Davis' Hsuan L. Hsu writing in Film Criticism. He points out that it is not actually any racial factor that leads to the stereotyped views helped by many of the characters of themselves and others, "but historically specific practices of racism" (Hsu 2006). In many ways, Crash presents a microcosm of Los Angeles and United States history of racial views; it is a condensed explanation of the creation and maintenance of racist policies at the institutional level through the widespread and generally unplanned collective racism of individuals. This is what makes the film so engaging to critics and movie goers alike: it is honest about racism and…...

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References

Hsu, H. (2006). "Racial privacy, the L.A. ensemble film, and Paul Haggis's Crash." Film criticism, 13(4), pp. 12-34.

Taulbert, S. (2006). "Film Review of the Movie Crash." Pastoral psychology, 55(2), pp. 247-51.

The author writes "since the disruption of the colonized/colonizer mind-set is necessary for border crossings to not simply reinscribe old patterns, we need strategies for decolonization that aim to change the minds and habits of everyone involved in cultural criticism," so that black women are not, like the author says she was in her twenties, "inwardly homeless." (5; 9) This state of inward homelessness, or lacking a coherent identity is something, hooks acknowledges, that can be experienced by all marginalized peoples and ethnic groups in contemporary society -- and only by acknowledging the fact that we are all potentially, inwardly homeless, can the pain of past prejudice be assuaged.
The flexibility and instability of perceptions in "Crash," is not simply stressed in the script's continual, structured contrast between media representations and 'the real.' Even within the context of "Crash's" 'real life,' individuals who are non-white are continually misread in the…...

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Works Cited

Crash." Directed by Paul Haggis. 2004.

A hooks, bell. Outlaw Culture: Resisting Representations. New York: Routledge, 1994.

' Anthony, an actual resident of the street, sneers at white perceptions of how blacks talk in the media: "You think whites go around callin' each other honky all day?" hile Anthony's theft of the SUV is clearly shown to be destructive, socially as well as morally, the film also shows how black inner city views of law and order have evolved in such a negative and polarized fashion: the presence of the black officer Detective Graham aters is undercut by the racism and racial profiling of other members of the force.
Racism is circular in nature, and this is revealed in Anthony's lapses in logic: "That waitress sized us up in two seconds. e're black and black people don't tip. So she wasn't gonna waste her time. Now somebody like that? Nothing you can do to change their mind. You expect me to pay for that kind of service?" Anthony…...

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Work Cited

Crash. Directed by Paul Haggis. 2004.

The scene where Ryan touches Cameron's wife shows us that there is this distorted belief white authority posses: that they can do whatever it is they want because they have been given the authority of the law and the authority of society as a superior race. The white authority uses this to its own advantage, to pursue its own desires and interests, all the while denying others the respect that they deserve as human beings.
The problem with the depiction of law enforcement in the movie is that everything seems to be smoothed out by personal acts of kindness -- and tolerance. Officer Jack Ryan saves Christine at the end of the movie -- even though she initially doesn't accept his help -- and we are meant to believe that years of intolerance has been washed away because he decides to act like a good human being (or not even…...

Crash
Race, Ethnicity, and Gender in Crash

Crash is a 2004 film that analyzes racial and social tensions that are rampant in society. Crash is divided into a series of vignettes that converge through a series of automobile accidents. The film features an all-star cast that includes Don Cheadle, Matt Dillon, Jennifer Esposito, Michael Pena, Chris Bridges, Sandra Bullock, Brendan Frasier, Terence Howard, Ryan Phillippe, Larenz Tate, and Thandie Newton. Issues of race and ethnicity, in addition to gender, can be seen in the storyline that involves Dillon, Phillipe, Howard, and Newton.

In the film, Matt Dillon plays racist LAPD Officer John Ryan and Ryan Phillipe is his more tolerant partner, Tom Hansen. In the film, Ryan and Hansen pull over TV director Cameron Thayer and his wife, Christine, because the vehicle that they are driving matches the description of a vehicle that was recently stolen. In the first encounter between the four…...

Jean believes that because the locksmith is Hispanic, tattooed, and has a shaved head, he is a gang member and will immediately sell a copy of the Cabot house key to one of his associates thereby putting the Cabot's in jeopardy once again even though he is not a menace.
While the "menace to society" archetype influences perceptions of minorities, the "manipulator" prototype influences behavior. For instance, Officer Ryan is able to influence his partner, Tom Hansen, to help him pull over the Thayers because he is senior to him. At the same time, Officer Hansen, forces himself to change his behavior to satisfy the demands of his partner. Officer Ryan's influence on his partner is not limited to the interaction with the Thayers. At the end of the film, Haggis demonstrates how Hansen's perception of minorities has been irrevocably altered when he shoots and kills Peter, whom he had…...

persuade classmates film effective social critique. Using Toulmin system, make a claim film's effectiveness ineffectiveness, provide reasons support claim, supply grounds film support reasons.
Crash

The cinematography industry generates numerous motion pictures directed at dealing with contemporary problems and while most of them are Hollywodian and thus commercial in character, they nonetheless manage to put across a thorough account of the topic that they discuss. Paul Haggis' 2004 film Crash is obviously meant to deal with racism and with the fact that it poses a threat to society's well-being. Although the script is filled with marketable elements and most events in it are unlikely to happen in real life (at least not in successive order), the movie express racism exactly as it is, emphasizing that society should indeed be alarmed because of the discriminating character people display on a daily basis.

Considering that Los Angeles is a city overwhelmed with variety, it…...

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Works cited:

1. Avila, Eric. Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles (Berkeley, CA: University of California Press, 2004).

2. Fibbs, Brandon. "Crash." Retrieved November 2, 2010, from the Brandon Fibbs Website: http://brandonfibbs.com/2005/05/06/crash/

3. Greydanus, Steven D. "Crash." Retrieved November 2, 2010, from the Decent Films Website:  http://www.decentfilms.com/reviews/crash2005.html 

4. Gormley, Paul. Retrieved November 2, 2010, from the Darkmatter Website:  http://www.darkmatter101.org/site/2007/05/07/crash-and-the-city/

Essay Topic Examples
1. The Role of Nonverbal Communication in 'The King's Speech':
    Analyze the use of nonverbal communication in the movie 'The King's Speech'. Focus on how the characters use gestures, facial expressions, and silence to convey emotions and intentions, and how these nonverbal cues affect their relationships and the storyline.

2. Conflict Resolution Explored in 'Marriage Story':
    Explore the theme of conflict resolution within the film 'Marriage Story' by examining the interpersonal communication techniques the characters utilize to manage and resolve disputes. Assess the effectiveness of their communication strategies and their impact on the characters' relationships.

3. erception and Interpersonal Communication in 'Crash':
    Examine how perception affects interpersonal communication in the multi-narrative film 'Crash'. Discuss the role of stereotypes, prejudices, and cultural differences in shaping the characters' perceptions and how these perceptions influence their interactions.

4. Listening Skills as Demonstrated in 'Good Will Hunting':
    Analyze the listening skills displayed by the characters in 'Good Will Hunting'.…...

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Primary Sources

Goleman, Daniel. \"Emotional Intelligence in the Movies.\" Journal of Psychoeducational Assessment, vol. 23, no. 2, June 2005, pp. 115-123.

Guerrero, Laura K., and Peter A. Andersen. \"The Wax and Wane of Interpersonal Communication: In-Depth Analyses of Before Sunrise, Before Sunset, and Before Midnight.\" Qualitative Research Reports in Communication, vol. 15, no. 1, 2014, pp. 26-34.

Hall, Edward T. \"Proxemics in the Film \'In the Mood for Love\': Cultural Implications of Space and Distance in Interpersonal Communication.\" Ethos, vol. 34, no. 3, Sept. 2006, pp. 475-503.

Mehrabian, Albert. \"Nonverbal Communication Accuracies in Hitchcock’s Vertigo.\" Journal of Applied Social Psychology, vol. 35, no. 7, July 2005, pp. 1507-1519.

Baxter, Leslie A., and Dawn O. Braithwaite. \"Social Relationships in the Film \'Crash\': A Dialogic Analysis of Interpersonal Communication and Tension.\" Communication Monographs, vol. 74, no. 4, Dec. 2007, pp. 567-586.

It also says a lot about our society that so many people went to see the film and endorsed the film. It is not because this film is about heroes or heroism. It is because the film's ultimate message is to never forget the people who died in the September 11, 2001 terrorist attacks. It was a time when the people of the country came together in support and grief, and a time that made the country and its people just a bit closer to one another. It was an epic time in history and this film makes everyone remember, ultimately so they will never forget.
In conclusion, this is an important and emotional film. It is certainly not easy to watch, and it is easy to demonize the terrorists and fault the military because of their scrambled messages and inaction. However, the director does not demonize the terrorists or…...

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References

Fortuna, Michael. "Bingham Feels 'United 93' Does Son's Memory Justice." Villages Daily Sun. 2006. 1 Dec. 2008. http://www.thevillagesdailysun.com/articles/2006/04/28/lifestyles/lifestyles01.txt.

Roberts, Sheila. "United 93 Movie Review." Movies-Online.ca. 2006. 1 Dec. 2008. http://www.moviesonline.ca/movie_review_detail.php?id=1769.

United 93. Dir. Paul Greengrass. Perf..J. Johnson, Gary Commock, Polly Adams, and Opal Alladin. Universal Pictures, 2006.

Wilson, Tyler. "United 93' a Powerful Re-Enactment of Tragedy." University of Idaho. 2006. 1 Dec. 2008.  http://www.uiargonaut.com/content/view/1839/47/ .