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Essay / Research Paper Abstract
12 pages in length. The writer discusses Utopian qualities and social propaganda as they relate to the film "Big Daddy," by addressing Richard Dyer's paradigm, Jacques Ellul's sociological propaganda and Benedict Anderson's treatment of imagined communities. Bibliography lists 3 sources.
Page Count:
12 pages (~225 words per page)
File: LM1_TLCdaddy.doc
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Unformatted sample text from the term paper:
contemporary commitment strives to point out just how contrived relationships have become throughout the past century. Indeed, the film forcibly projects a sense of Utopian qualities as part and
parcel of its overall yet contrived social value; however, this forced application is what makes the movies intent so terribly shallow. Based upon the entertainment allegory of transparency, film historian
Richard Dyer suggests that movies such as Big Daddy encourage a significant sense of social concern with regard to traditional and historical human existence. Todays films as they are
presented by the entertainment industry do not, according to Dyer, "necessarily reproduce societys wants, but nor do they necessarily reproduce capitalist propaganda" (Dyer PG). Dyer implies that the fears
that contemporary movies have been suggested to cultivate in relation to the daunting progression forward into the technological era "cater to both, meeting the needs of society through capitalist demands
(costs of production, financing, etc.) and resolutions" (Dyer PG). Dyers paradigm relates to Big Daddy in such a manner as to address the
apparent fear and anticipation inherently associated with relationships and commitment. Inasmuch as Adam Sandlers transparent character is forever tormented by his inner desire to remain unencumbered by the responsibility
of marriage, he also does not want to lose the one person in his life who helps to give him direction. This dichotomy is instrumental in focusing upon the
more inconspicuous elements of social responsibility that Sandlers character portrays. Dyers intuition as to these fears of commitment contend that such admission spills over into other aspects of society,
where people have become somewhat phobic about any sort of commitment, personal or otherwise. "It should be noted that utopianism in entertainment is not given in its classical connotation,
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