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"White Mas­cul­in­i­ty and Ra­cism" - Er­war­tungs­ho­ri­zont

  1. Mo­no­lo­gi­scher Teil

    Erste Auf­ga­be

    • the Hmong peop­le are pre­sen­ted in a way that re­pres­ents two ste­reo­ty­pi­cal ex­tre­mes of Asian Ame­ri­cans: on the one hand: pas­si­ve, do­ci­le peop­le who are in­ca­pa­ble of ma­na­ging their own lives or stan­ding up for them­sel­ves and thus des­pe­ra­te­ly need help (ll. 3-12; ll. 15-16); on the other hand: the gang re­pres­ents the ste­reo­ty­pi­cal image of the “yel­low peril” – Asian Ame­ri­cans as de­pra­ved cri­mi­nals (ll. 16-19)
    • there are no po­si­ti­ve re­pre­sen­ta­ti­ons; the pre­sen­ted ne­ga­ti­ve ste­reo­ty­pes ac­tual­ly sup­port a dis­cri­mi­na­to­ry at­ti­tu­de towards this eth­nic group (ll. 19-20)
    • Walt on the other hand is de­pic­ted as a white sa­viour who is able to pro­tect the com­mu­ni­ty against their own peop­le; as such, the cha­rac­ter of Walt sup­ports male do­mi­nan­ce and very tra­di­tio­nal gen­der roles as a po­si­ti­ve ste­reo­ty­pe of the white Ame­ri­can

     

    Zwei­te Auf­ga­be
    in­di­vi­du­el­le Schü­le­r­ant­wor­ten, mög­li­che As­pek­te:

    • on the one hand: it is ac­tual­ly true that there are very few re­pre­sen­ta­ti­ons of Asian Ame­ri­cans in the film bey­ond the ste­reo­ty­pes that the aut­hors men­ti­on; it is also true that Walt’s do­mi­nant, vio­lent and ma­chois­tic be­ha­viour is pre­sen­ted in a ra­ther po­si­ti­ve way (self-re­li­an­ce, strength, he­ro­ism) [+Bei­spie­le aus dem Film]
    • on the other hand: the aut­hor igno­res the fact that Walt un­der­goes a de­ve­lop­ment in the film; not only does he over­co­me his lo­ne­li­ness but also some of his pre­ju­di­ces and bias (even if he can­not admit to that and on the outs­ide still seems to be his old self); he opens up to a new world/ cul­tu­re and tries to sup­port this com­mu­ni­ty (wi­t­hin the boun­da­ries of a set of va­lues that re­mains ques­tionable until the end); thus, he ac­tual­ly makes an ef­fort at try­ing to es­ta­blish a sense of be­longing in a world that so far has been alien and threa­ten­ing to him wi­thout gi­ving up on his old self com­ple­te­ly [+Bei­spie­le aus dem Film]
  2. Dia­lo­gi­scher Teil

    Er­wei­te­rung des Um­felds der Auf­ga­be

    Der erste Im­puls soll der Tat­sa­che Rech­nung tra­gen, das TMK in der Un­ter­richts­ein­heit eine große Rolle ge­spielt hat und eben­falls Be­stand­teil der münd­li­chen Prü­fung sein soll­te.

    Der zwei­te Im­puls soll bei­spiel­haft zei­gen, wie wei­te­re so­zio­kul­tu­rel­le The­men des Bil­dungs­plans an die The­ma­tik des Tex­tes an­ge­knüpft wer­den kön­nen (im­mi­gra­ti­on, ac­cul­tu­ra­ti­on vs. par­al­lel so­cie­ties, ra­ci­al equa­li­ty, gun con­trol, ...).

    1. Walt as the he­roic sa­viour or the iso­la­ted old man? Give ex­am­ples of how ci­ne­ma­tic de­vices are em­ploy­ed in Gran To­ri­no to sup­port eit­her view.
      • he­roic sa­viour: in the final scene, Walt is shot and falls to the ground; his pos­tu­re re­minds the view­er of Jesus on the cross (his arms spre­ad); this ef­fect is en­han­ced by the fact that he is fil­med from above (bird’s eye view); the ca­me­ra is mo­ving fur­ther and fur­ther away from him, thus maybe even sug­gesting that his soul is ri­sing up to the sky; the­re­fo­re, Walt’s last mo­ment in the film cle­ar­ly has re­li­gious con­no­ta­ti­ons, em­pha­si­sing the he­roic sa­cri­fice Walt has made (mar­tyr?)
      • grum­py old man: again and again he is pre­sen­ted as a grum­py old man stuck in his ha­b­its and lo­cked up in a world of his own; a world that his de­ter­mi­ned by lo­ne­li­ness (Walt alone on the porch, drin­king beer, just sta­ring out into the neigh­bourhood) and bo­ring rou­ti­nes (Walt mo­wing the lawn; bird’s eye view – pre­sen­ting Walt as a tiny fi­gu­re in his fort)
      • all in all: both pre­sen­ta­ti­ons of Walt are im­portant in the film and they do not con­tra­dict each other: Walt de­fi­ni­te­ly is a grum­py, stuck-up old man who doesn’t seem to have de­ve­l­o­ped a sense of be­longing and who has great dif­fi­cul­ties opening up to peop­le; howe­ver, once he has taken a li­king to Thao and his fa­mi­ly, he sup­ports them in every way he can; the fact that Walt sa­cri­fices his life for Thao in the end shows a truly he­roic side of him; it also shows how a true sense of be­longing can chan­ge a per­son
    2. Gran To­ri­no deals with the pro­blem of ra­cism/ ra­ci­al ste­reo­typ­ing. Com­ment on whe­ther you think this is still a major issue in the USA today.
      in­di­vi­du­el­le Schü­le­r­ant­wor­ten; mög­li­che As­pek­te:
      • ra­cism and ra­ci­al ste­reo­typ­ing have al­ways been major is­su­es in the USA, es­pe­cial­ly with re­gard to black peop­le
      • after the ab­oli­ti­on of slavery, black peop­le were still ex­po­sed to vio­lence, lyn­ching, dis­cri­mi­na­ti­on and se­gre­ga­ti­on
      • the Civil Rights Mo­ve­ment fought against this; and alt­hough they achie­ved a lot, ra­cism, es­pe­cial­ly against black peop­le, it still is a major issue
      • subt­le forms of ra­cism [Bei­spie­le aus dem Un­ter­richt]
      • ra­cist de­mons­tra­ti­ons/ open vio­lence [Bei­spie­le aus dem Un­ter­richt]
      • ra­cism among the po­li­ce/ po­li­ce vio­lence [Bei­spie­le aus dem Un­ter­richt]
      • ...
      • the­re­fo­re, new mo­ve­ments, like #black­li­ves­mat­ter, still have to fight for black peop­les’ rights; Obama be­co­m­ing the first black pre­si­dent of the USA has not re­al­ly chan­ged any­thing about that
      • ...

 

Gran To­ri­no – Er­war­tung: Her­un­ter­la­den [docx][24 KB]

Gran To­ri­no – Er­war­tung: Her­un­ter­la­den [pdf][151 KB]

 

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