A blockbuster action flick, a thriller, a pulp plot, a winking noir, a commentary
on classism in an increasingly urbanized society — the movie is all of these things, down to the marrow of its very existence.
Not exact matches
The psychic energy of contemporary pastors, theologians and church leaders has more often centered
on the kerygmatic Word as it encounters «the problem of history,»
on struggles against the idolatries of fascism and Stalinism abroad and racism,
classism and sexism at home, or
on the development of the professional skills of ministry.
Liberation theologies concentrate
on precisely this central problem insofar as they focus, in solidarity,
on those communities concretely striving to transcend
classism, sexism, racism, technocentrism, and militarism.
Instead, liberation theologies have arisen as intellectual and religious responses to very concrete struggles for justice and love
on the part of those committed to overcoming the dehumanizations and depersonalizations resulting from
classism, sexism, racism, technocentrism, and militarism.
Take a trifecta of movies about affluent Connecticut: Ang Lee's The Ice Storm looks back at how a souring of American innocence in the 1970s found its way into affluent suburbia, Douglas Sirk's All That Heaven Allows explores the small town
classism of the 1950s as it was happening, and Todd Haynes» Far From Heaven casts its eyes
on the same period to illustrate the obstacles minorities and the LGBT community faced.
Along the way, the series has touched
on sexual identity, racism, homophobia,
classism — all of which one might think of as «usual suspects,» but nothing is «usual» about «American Crime.»
The sexism, racism, and
classism within the movement are a great failure
on our part.
The devil is in the details and there are layers here to disassemble: the renaming reveals an ugly European
classism wherein cleaning ladies are somehow
on the bottom and art historians
on the top; more pointedly it demonstrates Selz's marked narcissism and an era that tolerated it: any contemporary man who asked a woman for her hand — and, by the way, I'm going to rename you — would be shown the door.
The American west in particular contains narratives of prosperity, disappointment, destruction, with attendant racism,
classism, and sexism that persist in our national and cultural identity as a whole — from Western films and Warner Bros. cartoons to the global image of the romanticized American cowboy in panoramic vistas, to the lawns we keep
on our property.
I first encountered you at a very challenging seminar
on class,
classism, and the law for the Volunteer Lawyers Network.