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Analytical Review of The Substance

Korbin Massie

Brandon Cronenberg’s The Substance (2024) ventures into sci-fi horror, merging fear with deep reflections on identity and corporate control. Set in a near-future, the film imagines a world where pharmaceutical technology manipulates reality, examining the effects of unchecked scientific progress and the ethical limits of self-awareness. With its haunting visuals, restrained tone, and layered themes, The Substance raises important questions about humanity’s relationship to technology and the structures that influence scientific development.

The story structure of The Substance is purposefully disorienting, with fractured timelines and hazy flashbacks that capture the psychological descent of Elizabeth, played by Margaret Qualley. Her character experiences both internal and external turmoil as she becomes involved in a corporate experiment with a mind-altering drug that distorts her identity and sense of reality. The film’s slow, deliberate pace builds tension, reflecting elisabeths experience as her mind and body slip from her control.

Cronenberg’s non-linear storytelling immerses the viewer in Elisabeths shifting mental state, blending her past, present, and imagined experiences. This disorienting effect not only mirrors elisabeths own confusion but also immerses the viewer in her growing sense of entrapment. The ambiguity serves as a critique of pharmaceutical manipulation and the ways corporations may stretch ethical boundaries for control and profit. By fragmenting elisabeths sense of reality, Cronenberg confronts the audience with the troubling possibility that identity and reality itself, might be artificially shaped or exploited.

At its core, The Substance examines themes of autonomy, control, and the commercialization of human consciousness. The film critiques corporate interests, depicting pharmaceutical companies as entities that exploit individual vulnerabilities for financial gain. Elisabeths experience symbolizes a society that exchanges mental autonomy and personal freedom for fake experiences and artificial enhancements. This story resonates with current discussions about mental health treatments, wearable technology, and data-driven manipulation.

The movie also raises questions about identity through the mind-altering drug that reshapes self-perception. Cronenberg provokes thought: Is identity fixed or adaptable? Is a person’s essence reducible to chemistry, and if so, who controls that essence? The portrayal of elisabeths struggle to reclaim her sense of self serves as a cautionary tale against the loss of personal identity in a world where technology and corporate interests shape individual experience.

Visually, The Substance is both clinical and distorted, highlighting the cold, pharmaceutical environment against the horrific physical impact on Maya’s body and mind. Cronenberg’s signature body-horror aesthetic powerfully depicts her physical and psychological deterioration. The film’s sterile settings reinforce confinement, contrasted with disturbing close-ups of elisabeths transformations under the drug’s effects.

Cronenberg’s use of lighting and color effectively illustrates Maya’s psychological unraveling. The early scenes have cool, muted tones that depict the dehumanized corporate world. As her perceptions spiral, the color scheme shifts to disturbing reds and greens, symbolizing her descent into a twisted reality. Unreal camerawork and amazing lighting capture the chaos of Maya’s mind, creating a discomfort that draws empathy from the viewer.

The Substance is timely, arriving as society increasingly relies on pharmaceuticals and technology for mental health, brain improvement, and self-optimization. The film offers a cautionary look at potential misuse in these industries. Elisabeths experience echoes contemporary anxieties over identity and autonomy, particularly in a world where digital profiles and wearable tech can seem like extensions of the self.

The film’s critique of pharmaceutical abuse speaks to ongoing ethical debates about drug development and the influence of economic interests on healthcare practices. Through Elisabeths  ordeal, The Substance underscores the dangers of giving corporations unchecked power over consciousness-altering substances. By placing these issues in a horror setting, Cronenberg pushes viewers to consider how far society should pursue scientific “progress” and at what personal cost.

In conclusion, The Substance Is a daring and complex film that raises important ethical questions while delivering a visually and psychologically compelling horror experience. By confronting viewers with a likely future, Cronenberg critiques society’s obsession with control and commercialization of consciousness, leaving audiences to wonder the real price of progress in a world where even identity becomes a option.

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Korbin Massie

City of God

World Cinema

Analytical Review of City of God

City of God (2002), directed by Fernando Meirelles and Kátia Lund, dives deeply into themes of poverty, violence, and survival within Rio de Janeiro. Adapted from Paulo Lins's autobiographical novel, the film sheds light on the challenging and often harsh lives of different individuals caught in cycles of crime, economic problems, and social neglect. Although centered on gang rivalries and drug wars, *City of God* goes beyond typical crime drama, critiquing systematic inequality and showing how environments lacking structural support lead people down paths marked by violence, limited opportunity, and the pursuit of power.

One of City of God's standout elements is its nonlinear structure and layered perspective. The story is narrated by Rocket, a young photographer whose detached viewpoint offers insight into the issues of the city. His narration shows flashbacks and present-day events, offering a view into the characters’ pasts and showing how power dynamics change over time.

Rocket’s role as narrator adds a layer of complexity. Growing up in the city, he is both an insider to its struggles and an outsider in his desire to escape through photography. His detachment from the violence, both a way of coping and a product of his artistic aspirations, encourages viewers to assess the unfolding events. Unlike the gang members who seek control through violence, Rocket’s pursuit of a different life path shows a personal struggle for identity that extends beyond the city’s borders.

The film’s style is visually striking, creating an experience that feels both documentary-like and cinematically intense. César Charlone uses handheld shots, quick pans, and close-ups to capture the energy and unpredictability of life in the slums, aligning with the directors’ commitment to realism. The choice to cast non-professional actors, many from similar backgrounds, further enhances the story's authenticity, giving the characters a real, grounded feel instead of making them seem unauthentic. 

The use of color and lighting is also significant. Gritty, sun-soaked visuals emphasize the intense heat and crowded nature of the slums, while faded, dusty hues evoke a sense of evil and hopelessness. Occasional bright colors fill certain scenes, highlighting the cultural vibrancy of the city despite its harsh conditions. This visual style isn’t just for aesthetic effect, it serves as a commentary on the comparison of beauty and brutality that defines life there.

The film’s themes revolve around survival, power, and the brutal cycle of violence that clings to its characters. The city functions as an isolated ecosystem where government and social services are nearly absent, leaving crime as a primary survival mechanism and power gained through violence. Characters like Lil Ze and Benny represent different approaches to navigating this environment. Lil Ze personifies an unchecked drive for dominance, enjoying the violence he brings upon others, whereas Benny, despite his gang affiliation, seeks peace and connection. Their contrasting paths show how responses to the same harsh conditions can lead to drastically different outcomes, though both are inevitably shaped by the city’s boundaries.

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Korbin Massie

World Cinema

Battle of Algiers Analytical Review

The Battle of Algiers, directed by Gillo Pontecorvo and released in 1966, serves as a significant cinematic examination of urban warfare, colonialism, and resistance. The film compellingly depicts the Algerian quest for independence from French colonial control during the late 1950s, particularly highlighting the violent clashes in Algiers. This analytical review will dive into the film's structure, perspective, historical context, techniques, style, and overall effect, while also considering its relevance to modern discussions regarding colonialism and social justice movements.

 Rather than following a conventional linear narrative, it adopts a fragmented and chaotic presentation that reflects the disordered nature of urban warfare. It begins with a prologue showing a French paratrooper returning to a city fraught with unrest, instantly immersing the audience in the charged atmosphere of post-colonial strife. Each successive segment showcases pivotal instances of violence, oppression, and resistance, leading to a powerful climax that prompts viewers to question the ethical implications of both parties involved. This narrative structure effectively conveys the overwhelming fear and urgency felt by both the Algerians and the French military. By showcasing the conflict from various perspectives, The Battle of Algiers encourages viewers to grapple with the intricacies of war and the moral uncertainties associated with colonialism. The film avoids depicting a clear hero or villain, reflecting the often moral landscape of conflict and compelling the audience to face the harsh realities of both resistance and oppression.

Pontecorvo’s film is distinguished by its dedication to historical accuracy. Drawing on actual events and personal testimonies, it offers a gritty and authentic portrayal of the Algerian War, highlighting the harsh tactics used by both the FLN and the French military. The film is firmly grounded in the Algerian viewpoint, while also portraying the violence and psychological trauma inflicted by both factions. 

In a historical context, The Battle of Algiers serves as a critical lens through which to explore broader themes of colonialism and resistance. The film vividly depicts the desperate efforts of the Algerian people, who turn to guerrilla tactics as a response to systemic oppression. The FLN's strategy of bombings and assassinations complicates the viewer’s perception of justified violence. By emphasizing the civilian toll of the conflict, the film encourages contemplation of the costs associated with war and the ongoing cycle of violence characteristic of colonial struggles.

Pontecorvo adopts a documentary-style approach that enhances the film's realism. The use of handheld cameras, natural lighting, and actual locations in Algiers creates an immersive experience that draws the audience into the conflict. The cinematography by Marcello Gatti effectively captures the chaos of urban warfare through close-ups and rapid cuts that intensify the urgency of the scenes. The black-and-white cinematography contributes to the film’s rawness, eliminating any romanticized views of war and emphasizing the grim truths faced by those involved. The contrast between calm street scenes and sudden outbreaks of violence serves to jolt the audience, reflecting the unpredictable dynamics of urban conflict. This stylistic decision reinforces the film’s core themes of oppression and resistance, effectively illustrating the fight for dignity amid dehumanization.

The film’s significance extends beyond its historical backdrop, as it resonates with current events related to state violence, resistance efforts, and the challenges faced by marginalized communities against oppressive regimes. In a time characterized by civil unrest and calls for social justice, The Battle of Algiers serves as a powerful reminder of history's cyclical nature and the enduring struggle for freedom and equality.

In summary, Gillo Pontecorvo’s The Battle of Algiers stands as a pivotal work that transcends its historical context to engage with universal themes of struggle, identity, and the ethical complexities of warfare. Through its innovative structure, authentic depiction of conflict, and haunting stylistic choices, the film invites critical reflection on the legacies of colonialism and the ongoing fight for justice in our world. Its lasting influence and significance render it essential viewing for those seeking to grasp the intricacies of resistance and the human toll of war.

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Korbin Massie

World Cinema

October 7

Birds of Passage

Birds of Passage, directed by Ciro Guerra and Cristina Gallego, is a remarkable film that seamlessly blends elements of crime drama with a deep exploration of cultural themes. Set in Colombia's Guajira Peninsula between the 1960s and 1980s, the film offers a multifaceted story that traces the beginnings of the drug trade through the experiences of the Wayuu people. This perspective not only brings innovation to its narrative but also provides a powerful commentary on cultural identity, traditions, and the damaging effects of outside influences.

One of the film’s most engaging aspects is its structure, which is divided into five "cantos" or chapters. Each canto illustrates a different stage in the rise and fall of a Wayuu family involved in the drug trade. This chapter-based format emphasizes the ritualistic elements of life, reflecting the oral storytelling traditions of the Wayuu people and their close ties to their cultural heritage. The structure creates a rhythmic flow that leads the audience through the family's journey from prosperity to inevitable downfall.

This episodic framework also highlights the central theme of tradition versus modernity. Each transition between cantos represents a shift in cultural and moral values, showing how the once unified Wayuu society gradually fractures under the pressures of greed, power conflicts, and the corrupting influence of the drug trade. Through this structured narrative, the film vividly depicts the steady erosion of the Wayuu's traditional beliefs, creating a story that feels both tragic and inevitable.

A key focus of the film is the portrayal of the Wayuu's matriarchal society, especially through the character of Úrsula. She plays a crucial role in safeguarding the cultural integrity of the Wayuu, embodying the conflict between maintaining traditions and adapting to the modern challenges posed by the drug trade. Úrsula's character serves as a poignant example of how women often become the custodians of cultural heritage while navigating the complexities of a rapidly evolving world.

Set against the backdrop of Colombia's socio-political upheaval, Birds of Passage captures the onset of the marijuana boom in the 1960s, which eventually paved the way for the cocaine trade. This era was a turning point in Colombia’s economic and social landscape, significantly affecting indigenous and rural communities. 

The film's portrayal of this period is thorough and carefully crafted, combining historical events with the mythological and cultural elements of the Wayuu people. This context allows the filmmakers to delve into broader themes like colonialism, cultural commodification, and the impact of unrestrained capitalism. The drug trade in the narrative serves as a powerful metaphor for the intrusive nature of Western ideologies and their tendency to undermine indigenous traditions and values.

Visually, Guerra and Gallego's direction in Birds of Passage is both striking and evocative, blending realism with surreal, dream-like imagery that echoes the spiritual beliefs of the Wayuu. The film’s use of barren desert landscapes and stark, minimalist visuals conveys a feeling of desolation and isolation, emphasizing the disconnection between the Wayuu’s cultural roots and the encroaching world of modernity and drug trafficking.

In the context of today’s global issues, Birds of Passage acts as a critique of the ongoing marginalization and exploitation of indigenous communities in the name of profit. It sheds light on the struggle for indigenous rights, self-determination, and cultural preservation in an era dominated by globalization and economic expansion. The film's narrative ties into contemporary debates about the protection of cultural heritage, the rights of indigenous peoples, and the effects of the global drug trade on vulnerable communities.

Ultimately, Birds of Passage transcends the crime drama genre to become a thoughtful exploration of cultural identity, tradition, and the influence of external forces on indigenous societies. With its careful structure, authentic storytelling, and captivating visual and auditory techniques, the film paints a vivid picture of a community caught between the desire to preserve its traditions and the temptation to embrace modernity. Guerra and Gallego have created a film that is not only engaging but also thought-provoking, encouraging viewers to reflect on the true cost of progress and the significance of cultural integrity.

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Korbin Massie

World Cinema

September 30, 2024

Moolaade, directed by Ousmane Sembène, is a profound exploration of gender, tradition, and resistance within the socio-cultural landscape of rural Senegal. Released in 2004, the film centers around the issue of female circumcision and presents a compelling narrative that highlights the struggles of women in the face of oppressive societal norms. Sembene’s work goes miles beyond mere storytelling; it serves as a critical commentary on the intersections of tradition and modern life, making it an essential piece of cinema that relates with contemporary discussions surrounding women's rights and cultural practices.

The narrative of Moolaadé is structured around the character of Collé Ardo Gallo Sy, a strong willed woman who defies the norms of her village. The film began with a striking scene of young girls looking for refuge in Collé’s home after escaping the imminent threat of circumcision. This event sets the stage for the main conflict, positioning Collé as a protector of these girls. Sembène employs a non-linear narrative that is rich in symbolism and cultural references. The use of color, particularly the vibrant hues of the landscape. This visual imagery serves to highlight the tension between the beauty of the culture and the violence inflicted upon women in the name of tradition. Additionally, Sembène’s choice to incorporate local languages alongside French adds authenticity to the dialogue.

Moolaadé is steeped in the historical and cultural backdrop of Senegal, particularly focusing on the tradition of female circumcision. The film challenges viewers to confront the complexities of cultural identity, questioning the practices that ensure gender-based violence. 

From a historical perspective, the film reflects the ongoing debates surrounding cultural practices and human rights. The character of Collé embodies the struggle for empowerment and self rule, serving as a symbol of resistance against oppressive traditions. Her actions reside with other movements advocating for women's rights, making Moolaadé not just a film about a specific cultural issue, but a universal commentary on the fight against gender-based violence.

Sembène’s directorial style in Moolaadé is characterized by its simplicity and authenticity. The pacing of the film allows for moments of reflection, enabling the audience to absorb the gravity of the themes presented. The performances, particularly by Collé, are deeply affecting with a sense of realism that enhances the emotional weight of the narrative. The film’s use of traditional music and storytelling techniques completes its cultural authenticity, creating a connection between the audience and the characters’ lived experiences. The cinematography is also notable for its vibrant portrayal of the Senegalese landscape, juxtaposed with the intimate and often painful realities faced by the women. 

Moolaadé leaves a lasting impression on its audience, prompting critical reflection on the intersection of culture, gender, and human rights. Sembène’s work is not merely an indictment of tradition but also a celebration of the strength and agency of women who defy oppressive norms.

In the context of current events, Moolaadé remains profoundly relevant. As discussions surrounding gender equality and women's rights continue to gain momentum globally, the film serves as a reminder of the ongoing struggles faced by women in many cultures. It calls for solidarity and advocacy, urging viewers to engage in meaningful dialogue about the need for change.

In conclusion, Ousmane Sembène’s Moolaadé is a powerful and thought-provoking film that transcends its cultural setting to address universal themes of resistance, empowerment, and the complexities of tradition. Its rich narrative, cultural authenticity, and emotional depth make it a significant contribution to world cinema and a vital part of the conversation surrounding women's rights today. The film not only challenges its audience to confront uncomfortable truths but also inspires hope for a future where women can reclaim their autonomy and voice in modern society.

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Korbin Massie

World Cinema

September 17

"A Prophet" (original title "Un prophète"), directed by Jacques Audiard, is a 2009 French crime drama that provides a complex study of power dynamics, identity, and survival within the prison system. The film’s complex portrayal of its protagonist, “Malik El Djebena”, and the brutal, closed-world environment of a French prison highlights themes of institutional oppression, racial tension, and the effects of power. Through its detailed narrative structure, beautiful visual style, and insightful character development, the film delivers a powerful message on the struggle for identity and the pursuit of self rule in an environment designed to strip both away.

The film's structure is one of its most defining aspects. "A Prophet" follows a traditional narrative arc but does so in a way that feels deeply organic and inevitable. At its core, the movie is a coming-of-age story, but a twisted one. Malik (Tahar), a young French-Algerian man, enters prison as an illiterate, petty criminal and emerges as a crime lord. His journey from vulnerability to leadership serves as the backbone of the film, with each event in the prison pushing him further towards his evolution.

Audiard uses a linear narrative that mirrors Malik's progression from a passive participant to an active force in shaping his destiny. The use of time jumps and the occasional imagery, particularly the ghostly presences of Malik's first murder victim, subtly marks his psychological state. These narrative techniques not only deepen our understanding of Malik's transformation but also show the repeating nature of violence and how it becomes engraved within one's identity.

"A Prophet" employs a character-driven perspective that centers almost exclusively on Malik’s point of view. This focus is crucial in showing a deep sense of empathy for Malik, even as he becomes increasingly ruthless. We are seeing his evolution from an unknowing outsider to a strategic manipulator, understanding his decisions through a lens of survival. He portrays Malik as a blank slate in the beginning, absorbing the world around him and learning to adapt to its rules. The evolution in Malik's demeanor and body language throughout the film speaks volumes, often saying more than dialogue ever could.  The character of Cesar Luciani (played by Niels Arestrup), the Corsican mob boss who initially manipulates Malik for his own gains, serves as both a mentor and a threat. The film’s depiction of Malik’s manipulation of Cesar and the eventual role reversal is a testament to his cunning and adaptability, emphasizing the theme of survival at all costs.

This movie is deeply rooted in the socio-political landscape of France, specifically its complex relationship with immigrant communities. Malik’s identity as a French-Algerian Muslim places him in a strange position, caught between different worlds without fully belonging to any. The film subtly critiques the systemic racism within both the prison system and broader society. Malik's struggle to navigate his identity reflects the challenges faced by second-generation immigrants in France. Audiard uses Malik’s transformation as a commentary on how institutionalized racism and lack of social mobility can push individuals into crime, not out of choice but necessity.

Audiard’s direction and the film’s visual style significantly enhance its storytelling. The cinematography by Stephane Fontaine is gritty and immersive, employing handheld camera work that gives the film a documentary-like realism. The use of tight, confined shots reflects the oppressive nature of prison life, intensifying the feeling of entrapment that takes place in Malik’s existence. The film also explores the theme of identity, particularly in the context of cultural and ethnic divisions. Malik’s struggle with his identity as a French-Algerian Muslim in a predominantly French Corsican controlled prison shows the complexities of cultural integration and the clash of identities. His journey is as much about self-discovery as it is about survival.

The film's ability to blend realism with psychological insight makes it more than just a crime drama; it is a social commentary on the consequences of exclusion and the human drive for agency in a world that often denies it. "A Prophet" is, ultimately, a reflection on how the institutions of power shape individuals, forcing them to adapt, transform, and sometimes lose themselves in the process.

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Korbin Massie

World Cinema

September 10, 2024

 I Am Cuba(1964)

Mikhail Kalatozov's I Am Cuba (1964), a collaboration between Soviet and Cuban filmmakers, offers a rich tapestry of cinematic innovation and ideological fervor. Through its striking visual style and politically charged narrative, the film stands out as a complex artifact of revolutionary cinema. This review aims to analyze the film’s structure, perspective, historical context, technique, style, and overall impact, particularly in relation to its thematic concerns and contemporary relevance.

I Am Cuba provides an episodic structure, presenting a series of episodes that illustrate different aspects of Cuban society under the Batista regime. This narrative approach allows for a multifaceted exploration of the socio-political landscape, capturing a range of experiences from urban to rural settings. Each episode, while distinct, contributes to a cohesive portrayal of the terrible inequalities and social injustices that precipitated the Cuban Revolution.

The film’s perspective is unapologetically pro-revolutionary. It seeks to evoke empathy and solidarity with the oppressed classes, framing the revolution as an inevitable and righteous response to systemic exploitation. This perspective is both a strength and a limitation. On one hand, it provides a clear and compelling narrative drive. On the other, it can reduce the complexity of historical and social realities to a binary of oppressor versus oppressed, potentially oversimplifying the multifaceted nature of the revolution.

Historically, I Am Cuba is a document of its time, reflecting the passionate revolutionary spirit of the early 1960s. The film captures the tension and turmoil of pre-revolutionary Cuba, providing a deep portrayal of poverty, corruption, and resistance. While it serves as an effective piece of revolutionary propaganda, its depiction of the Batista regime and the occuring revolutionary upheaval is colored by discourse.

The film’s historical content, though dramatized, offers valuable insights into the conditions that fueled the Cuban Revolution. It highlights the severe economic disparities and political repression experienced by ordinary Cubans, which are pivotal for understanding the revolution’s context. However, the film's portrayal is heavily idealized, with the revolution depicted as a unifying and glorified force, somewhat glossing over the complexities and contradictions within the revolutionary movement itself.

One of the most lauded aspects of *I Am Cuba* is its cinematography, led by Sergei Urusevsky. The film’s visual style is a testament to its innovative technique, characterized by long, unbroken takes, dynamic camera movements, and dramatic contrasts. Urusevsky’s work is particularly notable for its ambitious tracking shots, such as the famous sequence through a nightclub and onto the street, which seamlessly integrates multiple layers of action and narrative.

The use of black-and-white film enhances the dramatic effect, underscoring the division between wealth and poverty, freedom and oppression. The film’s visual approach is not merely decorative but serves a thematic purpose, reflecting the tension and urgency of the revolutionary moment.

I Am Cuba is a film that impresses with its technical achievements and its heartfelt commitment to revolutionary ideals. Its innovative cinematography and powerful visual storytelling make it a significant work in the history of cinema. However, its ideological slant and somewhat romanticized portrayal of revolution pose challenges for contemporary viewers seeking a significant understanding of Cuban history.

In the context of current discussions on revolutionary cinema and political propaganda, I Am Cuba offers a detailed case study. Its use of film as a vehicle for political messaging reflects broader themes in the intersection of art and ideology. The film’s aesthetic innovations, while rooted in its historical moment, continue to influence filmmakers interested in blending technical artistry with ideological expression.

Overall, I Am Cuba is a landmark film that blends cinematic technique with political advocacy, providing both a historical document and an artistic achievement. Its place in the cinematic canon is assured by its bold visual style and its passionate commitment to the revolutionary cause, even as its historical and ideological biases invite critical examination.

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CHAPTER 13 FIELDWORK KORBIN MASSIE

Interview an immigrant of any age, gender, and nationality. Ask to hear his or her immigration story.  Listen for the key migration concepts discussed in this chapter. Include such key issues as where your subject emigrated from, what push and pull factors were involved in their decision to immigrate, and whether they experienced any bridges or barriers in the process. What other factors influenced their experience as immigrants? Be thorough and conscientious in protecting the anonymity of your informant.  Be sure to take detailed notes and analyze the story, then synthesize it in a short essay. Post your interview summary to Tumblr.

As you know, Ukraine has recently been dragged into war with Russia. This has shaken up the world in many ways for many people. I got in contact with someone from Ukraine. In our interview we talked about the many ways, war has affected their daily life and family. Not everyone has a choice when it comes to immigration. When you are forced to move out from your home because of an issue, you are a refugee.

One of the first questions I asked was “how has the war affected your family financially?” They responded that it has honestly messed up everything. Their parents had to find somewhere in another country to get another job. Their home was also lost. The interviewee is a music producer. He exclaimed that he couldn't even create music at this moment because there is not a secure connection for him to use. His family was pushed out of their home because of a war.

The next question that was asked was “how difficult was it for you to migrate to another country”. They responded in a very emotional way. He explained how extremely difficult it was for him to get him and his family out of the country. They had to live at many different shelters just so that they would not get accidentally hit by gunfire or bombed. His family had to find a way to get to the other country. There was a megabits that was taking people over to Poland. He exclaimed that this was the only way for them to migrate. The buses were packed with people. This was because everyone was trying to get out of harms way, which was not easy. We then concluded the interview when he expressed that his family made it to Poland safely. They are now about to start their new life.

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Chapter 10 fieldwork Korbin Massie

Find 3 news stories: one that illustrates Marx’s theory of social class, one that illustrates Weber’s theory of social class, and one that illustrates Bourdieu’s theory of social class. Post a link to each story and do a brief write up (one paragraph for each) that explains how the story illustrates social class using the selected theorist’s concepts. Be sure to focus on social class, not race!

https://www.newyorker.com/magazine/2016/10/10/karl-marx-yesterday-and-today

Marx’s theory of social class- Marx emphasizes in his theory of social class is the mode of production. He believes that each mode of production shows a distinctive class. This class controls and directs the process of production while the other classes are direct providers and producers of services for the higher social class. In other words, a man of high social class will not do the same job that a man of low social class is doing. An example would be someone who drives a garbage truck would be of social class, while someone who is a stock broker are in two different social class.

https://www.science.org/doi/abs/10.1126/science.1145876

Webers theory of social class- Weber argues in his theory that your social class depends on how much property you own. By property he means factories or equipment. His statement could go many ways. There are a lot of people who are very wealthy and of high social class that do not own property. There is also many people who are extremely wealthy that own lots of property. In this article it was talked about how your social class can determine your social behavior also. They did studies on the brain activities from people of different social status.

Bourdieus theory of social class- His theory of a social class is a similar idea of what modern society believes your social class is. His idea is based upon materialistic items. Things like your cars, clothes, skills and mannerisms etc.. In the article he talks about how the things you do can determine your social status. He used the word habits which is a system of dispositions , appreciations and much more.

https://catalyst-journal.com/2017/11/bourdieu-class-theory-riley

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chapter 6 fieldwork Korbin Massie

For this assignment you will examine your own family's history and its relationship to ethnicity and nationalism. How long has your family lived in this country? Where did they come from? Has your family embraced American Nationalism? If some of your family have migrated from other parts of the world, how do they integrate their American identity with their ethnic identity? The best sources of information for this exercise will be your own family members. Do not hesitate to conduct interviews.

Post the findings of your research on Tumblr. If possible, include photos of your ancestors and where they came from. Be sure to include how the results of your study affect your own personal view of ethnicity and nationalism. As you read your classmates' posts, take note of how many nations and ethnicities they represent.

My family has been living in this country for hundreds of years. My great grandfather was a slave, he was taken from Africa and eventually got released and started a family in Kentucky. My family has embraced American Nationalism ever since they came here. I wouldn't even know that my granddad came from Africa if I never asked. The slave trade was a terrible experience so I know it is a very sensitive topic to ask about. My family just simply blended in and did what they had to do to survive. Unfortunately, they could not send me any photos of my ancestors. Being able to adapt to any situation is a great skill many African Americans have.

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A key concept of racism that was showed on this piece of media was the stereotypical image of certain races. In this movie higher learning, they showed people who supported the nazis with bald heads , white skin and hitler tattoos.

In this movie Menace 2 Society they showed black people as not being well kept and being wild and angry. This is how people perceive black people in bad neighborhoods. This is an example of Racism.

In this movie, Racism plays a huge role throughout the entire movie. They had to run from the police for the entire movie who were basically slave catchers trying to find them. This is an example of police brutality.

In the music video America by Childish Gambino he illustrates in many ways the racism that goes on in America. Especially police brutality.

In this short film it was showed that no matter how nice and respectful you are to a police officer that is racist they will still kill you for no reason. Racism is something that it taught you are not born with it.

In this series black kids were accused of some crimes that they didn’t do. They ended up going to jail for many years for a crime they did not commit. This is an example of racism in America and the media.

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The song i chose was I’m da Man by Chief Keef.

Lyrics -“I’m here to fix the pipes, with my pipe in hand

I am here to fix the stoves, with my wrench in hand

I count blessings just like how I count dividends”

https://youtu.be/hLP60qNdWrI

This song reflects gender and power because he talks about how he is the man throughout the song. Which is why in the lyrics he says “I am here to fix the stoves with my wrench in hand”. Men usually do the fixing of things. This is something that is normal in households.

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1. What location did you choose? What drew you to it? Describe what you found.

The location that i chose was a park located near Morgan state university. This park is called herring run park. It is located about 1 mile away. I have been drawn to this park since the first day of school. I was attracted here because of the basketball court. I played basketball in high school so it was something that i was familiar with when i decided to attend school out here. At this park i found a good amount of deer and trees. There was also construction going on and some neighborhood kids who play at this park. There was also a playground where other little kids were enjoying their time there.

2.What did you notice in your observations that you’ve never noticed before?

I noticed that the amount of people that attend the park depends on the time of day and the weather. On a very sunny and warm day the park would be loaded with kids everywhere. But, on a day that it is cold and windy you won’t see anyone come up there. I also noticed that there are more animals out there on warmer days.

3. What is absent that you might have expected to find?

Something absent that i expected to find was trash on the ground by the basketball court. There is usually an excessive amount of trash surrounding the area. Ever since the weather has changed no one has been there to leave empty water bottles and sweaty shirts everywhere.

4. Can you determine anyways in which this space has been impacted by COVID-19?

This space has not been impacted by covid 19 in any ways. There is no one there to tell anyone to wear a mask , so everyone is playing basketball the same way they were before. There is not really any social distancing going on. Basically, everyone is enjoying their life like the pandemic never happened at the park.

[massiekorbin]

FieldWork #2 The culture of Consumerism

It did not allow me to attach the chart so here is the link and the file is not locked.

https://docs.google.com/document/d/1C2JGZWknUac5Q-nMw7W5_LjM7N8G6WQiLMYRC5Yz5sc/edit?usp=sharing

While completing this assignment I learned many things about myself. Many things in my environment are wants and not needs. The needs are very important to my daily life. Most of my wants are very expensive. Things like my coat and jackets cost a lot of money. My shoes also are worth a lot and they are wants. If I only had my needs I would have a lot of money in my pockets.Going forward I will start being more mindful of my purchases and deciding if it was a need or a want.

[massiekorbin]

Korbin Massie Chapter 1 Fieldwork

This item has been in my family for awhile. This extension cord has been used for over 10 years. It was at my old house , my new house and now my college dorm. I used this item to connect my tv, Xbox , phone charger and computer at times.

This item was manufactured at radio shack. RadioShack is not a store anymore, all of the building have been shutdown. This item had a huge impact on my life. It helps me out literally everyday of my life. Whenever I am in need, I can count on this cord to help me out. Electricians are directly involved in making this item. It has to be made correctly every time. If there is a defect with this item it could potentially burn down someone’s home. Life for them is pretty regular. They live the same lives as us except they create electric products.

[massiekorbin]

Korbin Massie Chapter 1 Discussion Post 2/3/22 Globalization

Time-Space Compression 

This is an idea that was created because of the expansion of capital. Things that usually took long amounts of time to happen is happening in seconds. This is changing the economy for the good and bad.

https://www.google.com/imgres?imgurl=x-raw-image%3A%2F%2F%2Fd0464320e9a89437187f644e7eae81090c472928f5a7f2de08dd547cacd9419d&imgrefurl=http%3A%2F%2Fwww.eng.fju.edu.tw%2FLiterary_Criticism%2Fpostmodernism%2F2018f_time_space_compress.pdf&tbnid=N5So6SBDRtD47M&vet=12ahUKEwjWlabk-eT1AhUCUjUKHVrmBpgQMygDegUIARC-AQ..i&docid=6yN1BI7wWyBK9M&w=400&h=647&q=time%20space%20compression%20globalization&client=safari&ved=2ahUKEwjWlabk-eT1AhUCUjUKHVrmBpgQMygDegUIARC-AQ

Flexible Accumulation

This is apart of the process of globalization, it helped produce an economic boom in the 1980s.

https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.flickr.com%2Fphotos%2F95678359%40N03%2F8742622430&psig=AOvVaw38SgyV5HlLO9s2uDI-bmqk&ust=1644026452927000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCKCHlfj55PUCFQAAAAAdAAAAABAD

Increasing Migration

Migration is one of the reasons why globalization is increasing all over the world. People are moving from everywhere just to find better opportunities which creates more money and increases globalization.

https://www.google.com/imgres?imgurl=https%3A%2F%2Flocalideas.files.wordpress.com%2F2014%2F09%2Fmigration-region.png&imgrefurl=https%3A%2F%2Flocalideas.org%2F2014%2F10%2F10%2Fmigration-and-increasing-inequality%2F&tbnid=5eBoME72Zh-kOM&vet=12ahUKEwiwuN6D-uT1AhVgGFkFHd1pD6IQMygDegUIARC8AQ..i&docid=ZSfU3x7au5EVsM&w=911&h=663&q=increasing%20migration&client=safari&ved=2ahUKEwiwuN6D-uT1AhVgGFkFHd1pD6IQMygDegUIARC8AQ

Uneven development

A lot of people migrated to the US but, they did not have a lot of money which is causing uneven development. Parts of the cities are flourishing but others are not because they can not afford to flourish just yet.

https://www.google.com/imgres?imgurl=https%3A%2F%2Fcdn.ca.emap.com%2Fwp-content%2Fuploads%2Fsites%2F12%2F2015%2F04%2Funevengrowth636to_636_270912283.jpg&imgrefurl=https%3A%2F%2Fwww.architectural-review.com%2Fessays%2Fexhibitions%2Funeven-growth-tactical-urbanism-for-expanding-megacities&tbnid=BYRq1e9WuoU7gM&vet=12ahUKEwjy_9W08uT1AhX7LFkFHdvdB0oQMygBegUIARDfAQ..i&docid=E75h5D0GGK9W8M&w=636&h=424&q=uneven%20development&client=safari&ved=2ahUKEwjy_9W08uT1AhX7LFkFHdvdB0oQMygBegUIARDfAQ