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Essay / Research Paper Abstract
In five pages this paper examines how the cinematic depiction of imperialism has changed over the years. Five sources are listed in the bibliography.
Page Count:
5 pages (~225 words per page)
File: TG15_TGimpfilms.rtf
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Unformatted sample text from the term paper:
as "unconscionable exploitation" that sadly, in some instances, actually resulted in the complete annihilation indigenous populations (Windschuttle 4). The real imperialism involved slavery, indentured servitude, and environmental desecration (Windschuttle
4). However, imperialism also represented an exciting canvas upon which filmmakers could paint Western hopes and dreams of heroes rescuing the unfortunate. Therefore, it perhaps comes as no
surprise that imperialism was a part of cinema from the mediums infancy, with some of the earliest full-length features inspired by imperial novels written during the late nineteenth and early
twentieth centuries (Page and Sonnenburg 120). It was "the perfect vehicle for... adventure, chivalry, and character forming" (MacKenzie 149). Many of the films of this period actually "aggressively
extolled the virtues of imperialism" (Page and Sonnenburg 120). Furthermore, these movies would satisfy the Western agenda, which would emphasize its ideology of harmonious racial and social classes that
may have already been rooted more in fact than in fiction (MacKenzie 141). From the very beginning, British imperialism intrigued London and U.S. filmmakers alike (Page and Sonnenburg 120).
In the 1920s and 1930s, British and American directors presented imperialism as an exciting noble quest in such films as Sanders of the River (1935), The Lives of a
Bengal Lancer (1935), King Solomons Mines (1937), Gunga Din (1939), Beau Geste (1939), and The Four Feathers (1939). King Solomons Mines, a popular imperialist tale by Rider Haggard, had
already been remade three times by 1940, with the most popular imperialist tales being those written by novelist Rudyard Kipling (Page and Sonnenburg 120). There is an unsettling correlation
between gender and colonial oppression. In these movies, it was "a mans world, in which romance and women play a subsidiary role" (MacKenzie 148). In The Lives of
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