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How are the Foundations a Nation was Built on Shown in Its Movies’ Messages?

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How are the Foundations a Nation was Built on Shown in Its Movies’ Messages?

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First analyze constitutions of different nations (with different government systems) and determine the values each were founded on. Then analyze movies from those countries and find connections between the message relayed in the movie and the values found in the constitutions.

How have these values changed throughout time?

Is there a connections between the ideals of a nation and its movies’ themes?

Are movies used a propaganda for a specific government type?

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How has America’s View of Women Changed Throughout Time as Evidenced by Song Lyrics?

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How has America’s View of Women Changed Throughout Time as Evidenced by Song Lyrics?

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Analyze songs from the early 1800s to current releases, focusing on how women are portrayed

How does this play into gender roles?

If applicable, why has society’s mindset changed?

How have women responded to the way they are viewed?

Has the passing of the 19th Amendment affected how women are portrayed via song lyrics?

What ways should women be viewed that promote respect towards human rights and dignity?

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How Does a Person’s Ideals Values Evolve as They get Older?

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How Does a Person’s Ideals Values Evolve as They get Older?

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Does a person’s values play into the stereotypes we have of children/teens/adults/seniors?

At what point does a person’s core values remain unchanging?

How does brain development play a role in the someone’s values changing?

Is changing values more dependent of brain development or life experience?

Though a child may have different values from a parent, how well does the child’s values align with those of the parent once the child reaches adulthood?

How do the conditions someone grows up in affect their core values?

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The Image of Women as Portrayed in Pop Songs: A Contribution to the Study of Marginal Literature

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The Image of Women as Portrayed in Pop Songs: A Contribution to the Study of Marginal Literature

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This article identifies how gender roles are described in the lyrics of pop songs. It dives into women’s roles as a wife and mother, focusing on their caring nature. It also identifies the negative role song lyrics can play by objectifying women. This is done through a study which analyses various song lyrics and their intended messages (qualitative data).

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The Image of Women as Portrayed in Pop Songs: A Contribution to the Study of Marginal Literature on JSTOR

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Estevao Filmao, The Image of Women as Portrayed in Pop Songs: A Contribution to the Study of Marginal Literature, Agenda: Empowering Women for Gender Equity, No. 14 (1992), pp. 52-67

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Aging, Values, and Rewards: Explaining Age Differences in Job Satisfaction

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Aging, Values, and Rewards: Explaining Age Differences in Job Satisfaction

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This article analyses how the values of different age groups change using job satisfaction as the subject. This is a study which obtains quantitative data by gathering information from surveys of those who work.

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JSTOR is a digital library of academic journals, books, and primary sources.

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Work Satisfaction and Age: Some Evidence for the `Job Change' Hypothesis

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Work Satisfaction and Age: Some Evidence for the `Job Change' Hypothesis

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Similarly to the previous study, the purpose of this article was to summarize information gathered through surveys that showed people’s job satisfaction in relation to their values. This article may not be as useful, however, because it does not focus on the age of those it surveys.

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Work Satisfaction and Age: Some Evidence for the `Job Change' Hypothesis on JSTOR

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James D. Wright, Richard F. Hamilton, Work Satisfaction and Age: Some Evidence for the `Job Change' Hypothesis, Social Forces, Vol. 56, No. 4 (Jun., 1978), pp. 1140-1158

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How Do People’s Values Change as They Get Older?

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How Do People’s Values Change as They Get Older?

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This is an article, not a study, which discusses how the values of a person change as he or she gets older. It primarily focuses on someone’s positive mindset, relating to rewarding behavior.

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How Do People’s Values Change as They Get Older?

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At any given moment in your life, you have a set of values that guide your actions at an abstract level.

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Updated Direction After Finding Sources:

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Updated Direction After Finding Sources:

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Look into the different in mindsets between men and women.

This can be analyzed through job satisfaction.

Focus specifically on wanting change or willingness to take risks

Does this correspond with the stereotypes set for men and women?

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The Promotion of American Culture through Hollywood Movies to the World

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The Promotion of American Culture through Hollywood Movies to the World

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This article identifies values found in movies (qualitative data) and discusses how they are related to the values that America was founded on. It also mentions how the messages in movies can be used as propaganda for society.

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This article specifically discusses the messages found in movies during wartime and how they relate to the struggles of the country. The movies can be used for unity to bring the country together or as propaganda to influence the ideals of society.

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Since the first scenes of warfare appeared in a brief 1898 silent movie filmed during the Spanish American War, many American films have sought to capture the horror and unbridled heroism, carnage and undaunted courage, the senseless and meaning of warfare. These films explore the realities of combat, the relationships that soldiers form within their units; and the interior mind of soldiers as Wartime Hollywood.

Beginning in September 1941, a Senate subcommittee launched an investigation into whether Hollywood was campaigning to bring the United States into World War II by inserting pro-British and pro-interventionist messages in its films. Isolationist Senator Gerald Nye charged Hollywood with producing "at least twenty pictures in the last year designed to drug the reason of the American people, set aflame their emotions, turn their hatred into a blaze, fill them with fear that Hitler will come over here and capture them." After reading a list of the names of studio executives - many of whom were Jewish - he condemned Hollywood as "a raging volcano of war fever."

While Hollywood did in fact release a few anti-Nazi films, such as Confessions of a Nazi Spy, what is remarkable in retrospect is how slowly Hollywood awoke to the fascist threat. Heavily dependent on the European market for revenue, Hollywood feared offending foreign audiences. Indeed, at the Nazis' request, Hollywood actually fired "non-Aryan" employees in its German business offices. Although the industry produced such preparedness films as Sergeant York, anti-fascist movies as The Great Dictator, and pro-British films films as A Yank in the R.A.F. between 1939 and 1941, before Pearl Harbor it did not release a single film advocating immediate American intervention in the war on the allies' behalf.

After Pearl Harbor, however, Hollywood quickly enlisted in the war cause. The studios quickly copyrighted topical movie titles like "Sunday in Hawaii," "Yellow Peril," and "V for Victory." Warner Brothers ordered a hasty rewrite of "Across the Pacific" which involved a Japanese plot to blow up Pearl Harbor, changing the setting to the Panama Canal. The use of searchlights at Hollywood premiers was prohibited, and Jack Warner painted a 20-foot arrow atop his studio, reading: "Lockheed - Thataway."

Hollywood's greatest contribution to the war effort was morale. Many of the movies produced during the war were patriotic rallying cries that affirmed a sense of national purpose. Combat films of the war years emphasized patriotism, group effort, and the value of individual sacrifices for a larger cause. They portrayed World War II as a peoples' war, typically featuring a group of men from diverse ethnic backgrounds who are thrown together, tested on the battlefield, and molded into a dedicated fighting unit. Many wartime films featured women characters playing an active role in the war by serving as combat nurses, riveters, welders, and long-suffering mothers who kept the home fires burning. Even cartoons, like Bugs Bunny "Nips the Nips," contributed to morale.

Off the screen, leading actors and actresses led recruitment and bond drives and entertained the troops. Leading directors like Frank Capra, John Ford, and John Huston enlisted and made documentaries to explain, "why we fight" and to offer civilians an idea of what actual combat looked like. In less than a year, 12 percent of all film industry employees entered the armed forces, including Clark Gable, Henry Fonda, and Jimmy Stewart. By the war's end, one-quarter of Hollywood's male employees were in uniform.

Hollywood, like other industries, encountered many wartime problems. The government cut the amount of available film stock by 25 percent and restricted the money that could be spent on sets to $5,000 for each movie. Nevertheless, the war years proved to be highly profitable for the movie industry. Spurred by shortages of gasoline and tires, as well as the appeal of newsreels, the war boosted movie attendance to near-record levels of 90 million a week.

From the moment America entered the war, Hollywood feared that the industry would be subject to heavy-handed government censorship. But the government itself wanted no repeat of World War I, when the Committee on Public Information had whipped up anti?German hysteria and oversold the war as "a Crusade not merely to re-win the tomb of Christ, but to bring back to earth the rule of right, the peace, goodwill to men and gentleness he taught." Less than two weeks after Pearl Harbor, President Roosevelt declared that the movie industry could make "a very useful contribution" to the war effort. But, he went on, "The motion picture industry must remain free . . . I want no censorship."

Convinced that movies could contribute to national morale, but fearing outright censorship, the federal government established two agencies within the Office of War Information (OWI) in 1942 to supervise the film industry: the Bureau of Motion Pictures, which produced educational films and reviewed scripts submitted by the studios, and the Bureau of Censorship, which oversaw film exports.

At the time these agencies were founded, OWI officials were quite unhappy with Hollywood movies, which they considered "escapist and delusive." The movies, these officials believed, failed to convey what the allies were fighting for, grossly exaggerated the extent of Nazi and Japanese espionage and sabotage, portrayed our allies in an offensive manner, and presented a false picture of the United States as a land of gangsters, labor strife, and racial conflict. A study of films issued in 1942 seemed to confirm the OWI concerns. It found that of the films dealing with the war, roughly two-thirds were spy pictures or comedies or musicals about camp life - conveying a highly distorted picture of the war.

To encourage the industry to provide more acceptable films, the Bureau of Motion Pictures issued "The Government Information Manual for the Motion Picture." This manual suggested that before producing a film, moviemakers consider the question: "Will this picture help to win the war?" It also asked the studios to inject images of "people making small sacrifices for victory - making them voluntarily, cheerfully, and because of the people's own sense of responsibility." During its existence, the Bureau evaluated individual film scripts to assess how they depicted war aims, the American military, the enemy, the allies, and the home front.

After the Bureau of Motion Pictures died out in the spring of 1943, government responsibility for monitoring the film industry shifted to the Office of Censorship. This agency prohibited the export of films that showed racial discrimination, depicted Americans as single-handedly winning the war, or painted our allies as imperialists.

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Since the first scenes of warfare appeared in a brief 1898 silent movie filmed during the Spanish American War, many American films have sought to capture the horror and unbridled heroism, carnage and undaunted courage, the senseless and meaning of warfare.

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This article discusses, not haw a nation’s ideals are portrayed in movies, but how a movie’s message can affect society. This is not directly related to the topic, but it would be an interesting topic to further research, as it is extremely important.

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Walter Wanger, The Role of Movies in Morale, American Journal of Sociology, Vol. 47, No. 3 (Nov., 1941), pp. 378-383

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How has America’s Mindset During Wartime Been Reflected in the Music That is Released?

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How has America’s Mindset During Wartime Been Reflected in the Music That is Released?

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Analyze both the style of the music (the beat, rhythm, major/minor, instruments used) and the lyrics (the motivations behind writing the song)

Does this differ per war?

Has the mindset of Americans always been visible through music? Does this still apply to today?