Class Consciousness: An In-depth Study of James Cameron's 'TITANIC'

2011

1986

Abstract Passengers' chances of surviving the sinking of the SS Titanic were related to their sex and their social class: females were more likely to survive than males, and the chances of survival declined with social class as measured by the class in which the passenger travelled. The probable reasons for these differences in rates of survival are discussed as are the reasons accepted by the Mersey Committee of Inquiry into the sinking.

A Critical Companion to James Cameron, 2018

If we are willing to let go of the genre identities floating on the semantic surfaces of James Cameron's films-science fiction, the spy thriller, the disaster film, and so on-we discover that Cameron is essentially a producer of modernized melodramas. This chapter explores how Cameron modernizes melodrama in Titanic, his 1997 blockbuster, 1) by displacing his female protagonist from the social oppression and psychological repression of the woman's film, which is considered a genre of melodrama, to the moral polarity and dialectic of pathos and action associated with being "king of the world," which is in keeping with an understanding of melodrama as mode rather than genre, and 2) by advancing his melodramatic plot through the realism of spectacular visual effects. The example of Titanic serves to counter previous arguments in film studies positing melodrama and spectacle as "excess" in relation to the norm of classical Hollywood narrative. The narrative in Titanic is melodramatic, spectacular, and completely normative. 1 The point of departure for Titanic is the assumption that young male viewers, a coveted demographic, have little tolerance for the pathos and tears of the woman's film. This is exemplified in the film by Lewis Bodine (Lewis Abernathy), the shaggy member of the Keldysh crew who narrates for elderly Rose Dewitt Bukater Dawson (Gloria Stewart) a forensic animation of the spectacular sinking of Titanic, replete with vocal sound effects, without any sensitivity to the fact that she was actually on the ship when it went down. Titanic splits the

www.shakesaspear.com, 2008

There were a total of fifty-five cancellations before she set sail, somewhat reminiscent of the rumors surrounding 9/11 alleging that several people failed to show up for work at the World Trade Center that day seemingly as a result of some form of advance warning, or the Oklahoma Bombing, where several members of the Alcohol Tobacco and Firearm Bureau, which had an office in the federal building, stayed away from work the day of the bombing, having received prior warning. It seems hard to deny the fact that some kind of prior warning was issued to these highly prized members of the global elite in advance. Could it be because they were all members of the Sons of Balial cabal of Freemasonry? J.P. Morgan, being one member of this cabal to cancel, claimed that it was his wife's prescient dream that prompted him to cancel. There must have been a fair number of clairvoyant wives on extra duty since there were 55 cancellations all told. As for the elite members who went down with the ship, many of them were purportedly members of the Law of One cabal of Freemasonry, who are alleged by some researchers to have been the good guys, the opposite of the New World Order Masons. They allegedly wanted to found a friendly League of Nations and would have done so had they not ended up at the bottom of the sea. On one level, the Titanic plot can be seen as an effort to get rid of the good guys, and as usual, ritual played a big part in the plot.

Critical Inquiry, 2001

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CALL, 2021

Social conflict happens due to diversities of opinion, culture, and ideology in the certain society. It can be discovered in every stratum of society level, social conflict can occur in the upper, middle and lower class. This study explained social class conflicts which were taken from two movies: Parasite (2019) and Joker (2019). This study uses a comparative literary theory by Sussan Bassnet. Th study also used focused on the social class conflict theory by Lewis Coser and the classification of people by Karl Max. The method used in this research is descriptive in technique of analyzing the data was obtaining by categorizing, describing and interpreting the data, then making conclusion. The result showed that in the Parasite and the Joker movies contained of social class conflict, it occurred inter classes of people in a society. based on analysis, it concluded that both of the movie has differences in the social class conflict and the causes of the conflict itself. However, both ...

Society, 1992

Journal of British Studies, 2013

The apparent lack of representations of the Titanic disaster in Britain between the start of the First World War and the end of the 1950s was due, not to a lack of interest, but to active resistance to such representations. Shipping interests, the press, government, and the public all opposed portrayals of the catastrophe, but their opposition depended much on the medium by which the sinking was to be represented, on the broader international context, and on the nature and status of individual memories of the events of 1912. Questions of fact, fiction, national prestige, and the ethics of representation dominated the first half century of the Titanic's cultural history in the United Kingdom.

Films represent society and in a society there is a struggle between people and classes made by the people. In any type of film there is an underlying philosophy. Marxist philosophy or Marxism came out of classical German philosophy and it has a strong presence in countries like Russia and India. Marxism deals with various ideologies like capitalism, class struggle, class conflict and economy struggle. The study aims to analyze the portrayal of those ideologies through two Russian and two Indian films by applying qualitative (content analysis and in depth interview) methodology.

Claudia Bitrán. Deep. Santiago: Museo de Artes Visuales, 2016

Bilingual essay on the work of Chilean born, New York-based artist, Claudia Bitran, published on the occasion of Bitran solo show at Museo de Artes Visuales in Santiago, Chile.