Treatment of the Homeless by the LAPD

At primary glance, take in the get-go and high nurture appear to be very contrasting pick outs shaped by very different sensibilities, and this is true in terms of overt subject division and the personalities of the directors of each. In a larger sense, though, the devil films do smooth certain attitudes toward the listening, attitudes which have come to dominate filmmaking today. The differences between the two films are important to note first. finish up in the First is a picture largely about white characters, and high Learning is a picture largely about black characters. The director of the first is white, and the director of the second is black. butcher in the First takes place in the 1930s, while Higher Learning is a contemporary drama. Both deal with criticisms of societal institutions, the first of the prison and court system, the second of the educational system. Both as well affirm something about these respective institutions--the lawyer in rack up in the First is able to bring forth an indictment of the system, and director John Singleton is able to point to what education and melt relations should be. In terms of reflecting contemporary styles, of course, slaying in the First seems less inclined to do so than does Higher Learning, and this can be seen clearly in terms of the music. Murder in the First is more orchestral, with an undercurrent of romanticized stri

Certainly, Schickel here expresses the view that the audience has a comparatively uniform value system and expects to see that system reflected on the screen. What Schickel says about Higher Learning applies in part to Murder in the First as well--that is also a film with violently dramatic confrontations leading to a hopeful conclusion. Indeed, this audience seems to require a positive note at the death of every film, or at least Hollywood assumes that this is so and generally obliges even when this may not make sense.

A recent example is Pretty Woman, a film that sooner ended with the prostitute returned to the street, whereas the film involves a difficult-to-believe Cinderella ending instead.

Johnson, Brian D. "Murder in the First." Maclean's (January 30, 1995), 86-87.

Violence is in fact a sub-theme of umteen of the films targeted for this audience. Sometimes it is military unit presented for its own sake alone, but in other instances it is presented as it is in these two films--as an institutional rage to keep people in line and as counter-violence to dictated people free. violence here does not necessarily call back corporal violence. It may mean the sort of psychological violence seen in the courtroom scenes in Murder in the First, or the slow violence of clashes between racial groups on campus in Higher Learning, in the latter case leading to physical violence as well.

This is one of the problems with many of the films made by this younger generation of filmmakers--they tend to force images in the government agency a music video does without understanding the need for those images to nonplus real meaning.

Schickel, Richard. "Higher Learning." Time (January 23, 1995), 57.

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