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HUM 3321
final exam
| Term | Definition |
|---|---|
| ISA | Educates and shares beliefs through social and psychological aspects (ex: school, family, friends, church) |
| RSA | Enforces laws and rules through violence or force (ex: police, military, prison, court) |
| Social Construct | race, class, gender, sexuality, religion |
| Ideology | System of beliefs and values |
| Cultural Pedagogy | Methods that teachers use in a classroom that are inclusive to all cultures, genders, ethnicities, etc. to help children learn more effectively. |
| Hegemony | Use ISA and RSA to show ruling power and teach that these ideas are the best things in order to maintain society |
| Social Consent | People follow rules of hegemony because they feel it is in their best interest to |
| Gender | The social and cultural construct of being either male or female |
| Sexuality | The social construct of your sexual identity/who you are attracted to (according to gender) |
| Class | The social construct of order according to status and money |
| Race | The social construct according to similar physical features and/or ethnic backgrounds |
| Multiculturalism | groups of different cultures in one location |
| Male Gaze | The way that something focuses on a female character with the assumption of a male viewer/the way that a male viewer will view this character (sex appeal) females = pleasure |
| Bechdel Test | Identifies the degree of gender bias in a film by the way women are presented in the film. 2 women talk to each other about anything not pertaining to men |
| Imagined Community | Group of people who identify with and feel a sense of community together without having to know everyone |
| Manhood Acts (claim to membership) | Use things like jokes, clothing, treatment of women, gestures to claim to membership of the "privileged" gender group. Used against both females and other males in order to invoke fear and power |
| Components of Masculinity | Bird- maintenance of practices that institutionalize men’s dominance over women, based on power/control emotional detachment competitiveness sexual objectification of women |
| White Privilege | McIntosh; the advantages inherent in being categorized as white |
| Microaggressions | brief and commonplace daily verbal, behavioral, or environmental indignities. They convey hostile, derogatory, or negative racial slights of insults toward people of color, whether conscious or unconscious. Often unintentional, inherited, “natural” |
| Microassault | explicit racial derogation, may involve name-calling, avoidant behavior, or a discriminatory act. Often conscious, racial slur intended to hurt a victim |
| Microinsult | subtle snubs, unconscious, demean a person’s race, ethnic identity or heritage, include rudeness and insensitivity (i.e. white teacher failing to acknowledge a black student) |
| Microinvalidation | unconscious communications that exclude, negate, or nullify the psychological thoughts, feelings or experiential reality of a person of color |
| Aversive Racism | egalitarian values operate on a conscious level. Anti-minority feelings are largely unconscious and covert |
| Otherization of Hispanics | all non-white are lumped into the same category of "Hispanics," regardless of place of birth, Hispanics considered non-citizens, all Hispanics are termed Mexican regardless of place of national origin; hispanics are taking away jobs, stability |
| White Victimization | fear that they are going to take all the jobs, take financial resources away from "real" citizens, and immigration represents a direct threat to security and benevolence that white citizenship promises |
| Borders for Control | Establishing the need for borders; controlling immigrants |
| Whiteness = Citizenship | ideology of citizenship based on race |
| White Savior | white person guides people of color from the margins to the mainstream with his or her own initiative and benevolence |
| White Ally | someone who engages in ‘true generosity’ by joining in solidarity with people of color who struggle collaboratively against those institutions that maintain oppression |
| Destructive Power of Money | Marx, glorifying money, causing alienation of man |
| Meritocracy (myth) | myth that the system distributes resources according to merit/ One’s success or failure (the American Dream) is a result of their own merit or lack thereof; inheritance, education, fewer opportunities for self-employment, and changes in manufacturing |
| Social Capital | Investment in personal relationships that facilitate the achievement of individual or collective goals; |
| Cycle of Poverty | a lack of basic resources creates barriers that prevent people from obtaining those resources to begin with so interrelated problems cause and reinforce one another; Myths that the lower class is anti-family, work |
| Present-oriented | Lower class cannot delay gratification. Short term gratification |
| Non-merit obstacles to success | Neutralize or negate the effects of individual merit |
| Commodification | the process of causing an intangible idea to become something bought and sold;. (beauty) makeup skincare. (leisure time) |
| Gender Theory | field of study that is devoted to gender identity and gender representation; what is expected from society for each gender |
| Naturalization | A legal process to obtain citizenship |
| Power for Patronage | (Risman), trade power for patronage. Marriage, common for women to give up power and voice to be taken care of by husband. |
| Individualism | How you view yourself |
| Interactional Cultural Expectations | how you interact culturally |
| Institutional Domain | How society says you should behave. |
| 1st Wave Feminism | Suffrage (right to vote) |
| 2nd Wave Feminism | Feminist movement |
| 3rd Wave Feminisms | 80s recognizing feminist movement was traditionally run by upper middle class straight white women. Everyone else is different |
| Warrior Woman | shows atypical: physical capability, resourcefulness, and tendency to violence. has recognizably female characteristics, often maternal, sometimes sexualized, but acts as an ‘effective soldier’. shows physical/mental strength in the face of adversity |
| Androgyny | combination of masculine and feminine characteristics. Usually used to describe characters or persons who have no specific gender, gender ambiguity may also be found in fashion, gender identity, sexual identity, or sexual lifestyle. |
| Queer Grief | refers to the way gay relationships and struggles are trivialized as being not as authentic as heterosexual ones |
| Queer Pleasure | homosexual pleasure somehow makes heterosexual pleasure less appealing |
| Heteronormative | wanting a boy-girl relationship in society; heterosexuality is seen as natural or normal |
| Heterosexism | discrimination or prejudice against homosexuals on the assumption that heterosexuality is the normal sexual orientation. |
| LGBTQ | Social political activist group for non-normative groups |
| Homoeroticism | Sexual attractions of the same gender not looking to repopulate. |
| Homosociality | the nonsexual attraction between the opposite sex |
| Homosexuality | sexually attracted to people of one's own sex |
| Transgender | Gender identify with gender not born with |
| Transvestite | takes on the gender persona in the temporary basis in another gender for which they are born |
| Pansexuality | Sexual attraction regardless of gender assignment |
| Asexuality | without sexual feelings or associations |
| Bisexuality | sexual attraction to both men and women |
| Old Paradigm | Sexual orientation must do with behavior, Only 2 sexualities; inflexible |
| New Paradigm | sexual orientation is multidimensional and flexible |
| Gay and Lesbian Films | Films that focus on a gay or lesbian person. Often a coming out story or transition story. |
| Queer Films | takes sexuality out of the forefront and makes it not the central issue. This allows the narrative to be forwarded without the “shock” value of homosexual acts |
| Mainstream Hollywood Films | Gay characters are side characters; love interest is in a heteronormative way. |
| Commend or Critique | its normal for a film to be good and bad. There’s always something |
| Mediatization of Religion | historical process in which the media have taken over many of the social functions that used to be performed by religious institutions; Idea of religion and how we think about religion has been informed by media. |
| Banal Religious Imagery | individual faith and collective religious imagination are created and maintained by experiences and representations that may have no, or only limited, relationship with the institutionalized religion; trolls, vampires and black cats crossing the street |
| Folk Religion | Interacts with institutional religion |
| Institutionalized Religion | how we think about specific religion |
| Non-Religious Featuers | They don’t come from a religion they are just put in, vampires, werewolves |
| Ladder of Diversity | Recognition Tolerance Celebration |
| Recognition | make contact with another group and compare it to our own |
| Tolerance | we accept the presence of the other group but still fail to fully understand and accept them |
| Celebration | we fully accept the other group and see value they bring in enriching our own life experiences |
| Mis-en-scene | relation of everything in the shot to everything else in the shot. basically everything that the director wants the viewer to see in a particular shot (placing on stage) |
| 180-Degree Rule | maintains the illusion of spatial reality by shooting from one side of an imaginary line |
| Diegetic sound | Sound that has its source in the narrative world of the film, whose characters are presumed to be able to hear it. |
| Non-diegetic | Sound that does not have an identifiable source in the narrative world of the film and thus cannot be heard by the characters in the film |
| Voiceover | narration to audience |
| Deep focus | everything far and near in focus |
| Rack focus | when the foreground is in focus and the background isn't, when the focus reverses it is called |
| Low-Angle Shot | camera looks up from below a character. Traditionally used to make a character look powerful/scary |
| High-Angle Shot | the camera looks down on a character. Traditionally used to make a character look weak/frightened |
| God's Eye View Shot | captures an overhead angle by placing the camera directly above the subject; gives viewers chance to see movement of scene all at once, but can be disorienting |
| POV Shot | Seeing what a character in the film sees. Clearly marked as subjective. Duplicates the optical perspective of a specific character, primarily as the protagonist or antagonist. |
| Close Up | in film, when the camera moves in to enlarge the image of one character on the screen |
| Extreme Close Up | Only one small portion of the human body is seen. (Camera proximity has traditionally been established in relation to a human character.) |
| Shot/Reverse/Shot | moving between two point of view shots. Seeing a character and then seeing what the character sees. These may also be appropriate (over the shoulder) always an interaction |
| Match Cut | a cut between two separate scenes that are linked by a similar motif (action or object) |
| Cross Cutting | A form of editing that involves cutting back and forth between two or more separate scenes |
Created by:
10209098938631065