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Essay / Research Paper Abstract
A 4 page paper which examines how the handling of sensitive issues of racial prejudice and homophobia as presented within a 1950s’ melodrama context can lead to future compassionate acceptance of people that do not fit the conventional social mode. Bibliography lists 2 sources.
Page Count:
4 pages (~225 words per page)
File: TG15_TGfarheavn.rtf
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Unformatted sample text from the term paper:
preferred instead to either ignore their existence altogether or isolate themselves from any visual reminders of the problem. Director Douglas Sirks melodramas such as All That Heaven Allows (1955),
Written on the Wind (1956), and Imitation of Life (1959) would reference specific issues in a way that would not offend the extremely conservative 1950s sensibilities. As a tribute
to Sirks unique brand of social commentary, twenty-first century filmmaker Todd Haynes applied the same cinematic and stylistic approaches to revisit with emotion albeit restrained the same issues Uncle Sam
continues to keep bottled up inside. In his 2002 film, Far from Heaven, Haynes puts the so-called perfect American suburban family into deep focus. While watching the film,
the audience shockingly discovers that by considering prejudice (sexual and racial) within the social context that existed in the 1950s, it becomes increasingly clear that very little has changed in
the new millennium. These issues are still repressed by society as a whole, and instead of embracing people that wish to rewrite the status quo to achieve personal happiness
they continue to be alienated and ostracized. To outsiders, Frank and Cathy Whitaker (Dennis Quaid and Julianne Moore) appear to be the quintessential young American suburban couple. They are
living the ideal of 1950s economic prosperity and have been affectionately dubbed "Mr. and Mrs. Magnatech" by their friends and neighbors because of Franks impressive marketing of television sets (Sklar,
2003). They have the perfect nuclear family complete with two children and a black gardener and maid as visible signs of white position and status. But Frank and
Cathy are little more than putting on appearances much like those distorted images being projected across the black-and-white televisions of the time. Frank has been struggling with secret homosexual
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