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Films about society, groups of individuals involved in persistent social interaction, or large social groups sharing the same spatial or social territory, typically subject to the same political authority and dominant cultural expectations.
A social problem film is a narrative film that integrates a larger social conflict into the individual conflict between its characters. In the context of the United States and of Hollywood, the genre is defined by fictionalized depictions of social crises set in realistic American domestic or institutionalized settings.
High Society (1956 film) High-Rise (film) Holiday (1938 film) The Holy Innocents (film) Homeless (film) Human Resources (1999 film) I. I'm Not Angry! Ibu Mertua-ku;
Image credits: Curses_at_bots #8 [Samantha Carter from Stargate] They were originally going to have her in a more revealing outfit than the guys, but the actor protested, saying something along ...
Somewhere in the near future, single people face a choice: join a program to find a mate in forty-five days or be transformed into an animal. [148] Logan's Run: 1976 Depicts a dystopian future society set in 2274 in which population and the consumption of resources are managed by the simple notion of killing everyone who reaches the age of thirty.
Society: 1989 Sometimes a Great Notion: 1971 Songbird: 2020 [14] Sorry to Bother You: 2018 [15] Space Jam: 1996 Spirited Away: 2001 [16] Squaring the Circle: 1984 Star Wars The Last Jedi: 2017 Strange Days: 1995 Strike: 1925 [17] Summer in the Golden Valley: 2003 Swept Away: 1974 [18] Taxi Driver: 1976 [5] They Live: 1988 [5] Those Who Make ...
A social thriller is a film genre using elements of suspense and horror to augment instances of apparent oppression in society. The genre gained attention by audiences and critics around the late 2010s with the releases of Jordan Peele's Get Out and Us, [1] [2] each film highlighting occurrences of racial alienation (the former which veil a plot to abduct young African-Americans).
Through its universal themes and comic inventiveness, Modern Times remains one of Chaplin's greatest and most enduring works. Perhaps more important, it is the Tramp's finale, a tribute to Chaplin's most beloved character and the silent-film era he commanded for a generation. [24] The film is recognized by American Film Institute in these lists: