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(The group dynamics of gangs give members "the empowerment that other institutions-including schools and families-fail to provide.) Rodriguez urges the conscious creation of a "holy space" as a "temporary sustainable community" from which to fight violence. While attacking the image of teenage males as the primary instigators of violent behavior, Rodriguez focuses on the specific problems of young males "trying to negotiate their lives" in the face of enormous problems, with little in the way of adult models. Combining personal memoir, perceptive sociological analysis and astute advice about political organizing, Rodriguez, whose youth included "drugs, jail, and gang warfare," writes movingly of how he turned his life around and dedicated himself to working with teens at risk. For Ferrero, these quilts are texts, and needles the pens, that create a pattern of historical fragments carefully gathered and arranged to reveal an aesthetic, double-edged picture of women's power in the 19th century.Rodriguez ( Always Running: La Vida Loca: Gang Days in L.A.) here takes a long, hard look at the endemic violence and the "cultural malaise of isolation and meaninglessness" that he sees as defining swaths of U.S. Crafted with great care and sensitivity, these films are tributes to the power of the visual image.For every quilter, each quilt becomes a story. Guild summary for the Alliance guild Cold Hands Dark Hearts on Whisperwind - US. The story begins with two people, Mr Easton and the glum-faced man hand-cuffed together. While both authors wrote plot twist endings, O. (iv) What role does the heart play in the plot of the story Ans. Both films should be seen and used by folklorists, popular culture specialists, historians, sociologists, and race and gender scholars. William Sydney Porter (Septem June 5, 1910), better known by his pen name O. Hearts and Hands is uplifting Ethnic Notions is sobering. In Ethnic Notions, Marlon Riggs hits us with the images whites created for Blacks and which Blacks were forced to recreated to gain employment in vaudeville, theatre, and film. This same century gave rise to the caricatures of Black Americans that persist in contemporary American popular culture. Emphasizing quilts as a means of revealing the social history of women, Pat Ferrero's Hearts and Hands eloquently presents "fragments of time," illustrated by needlework, which tell a story of the ultimate triumph of women during a century from which we usually hear few female voices. The oppression of women and Black Americans in the 19th century and popular expressions of that oppression by means of needlework and caricatures, respectively, were imposed on them from within and without, and yet those same forms often became creative outlets.
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But all is not so well from the viewpoint of those two oppressed segments of society. I highly recommend the film for use in any college course on American History, Women's Studies, or documentary film theory.ĭouble-Edged Power: Historical Records of Gender and Race All's well in white male 19th century America: the women are happy and content the darkies are laughing and carefree.
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and gives Marlow a stack of papers and the instructions not to hand them over to The Company.
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#Summary of hearts and hands free
The film's appropriation of archival materials-photographs, quotations from journals and letters, and the quilts themselves-provided the substance necessary to flesh out the theoretical abstractions of female communication, historiography, and historical documentary. A free summary of Heart of Darkness by Joseph Conrad. Hearts and Hands facilitated discussion of the impact of gender, race, and class on official history and the difficulties historians face in retrieving the histories of previously marginalized groups. They incorporate fragments of the personal into explorations of nineteenth century culture. Their quilts speak the language of abolition, patriotism, politics, social justice, westward expansion. Successfully challenging the notion that nineteenth century quilts were merely functional, occasionally artful, but certainly never part of the historical record, the film demonstrates that for nineteenth century women, quilts were the podium, the pulpit, the judges' gavel which their society denied them.