Crystal Balls in Film 2: Difference between revisions
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== Crystal Balls in Film Part Two== | == Crystal Balls in Film Part Two== | ||
When considering the subject of fortune telling, one is immediately hi with the generally agnostic or atheistic attitude toward any other form of spirituality or folk belief beyond extreme deference to Christianity (often in the form of Catholic devotionalism). Once the Hays Code was instituted in | When considering the subject of fortune telling, one is immediately hi with the generally agnostic or atheistic attitude toward any other form of spirituality or folk belief beyond extreme deference to Christianity (often in the form of Catholic devotionalism). Once the self-imposed film industry guidelines known as the Hays Code was instituted in 1934, not only was sexuality suppressed in cinema, but, with a few exceptions, actors from all ethnic minority cultures -- Jews , Blacks, Asians, Native Americans -- were mostly eliminated from leading roles and reduced to small comedy bits or set pieces as as villains or victims. Fortune tellers underwent the same degradation, and in very few post-Code films are the psychics truly psychic. | ||
During the Hays Code era, from 1934 to 1968, fortune tellers were generally portrayed as comedic bumblers, scamming fraudsters, or wicked villains -- and sometimes two of three in the same film. One favoured trope was the fraudulent fortune teller who is is surprised when a prediction actually comes true. Another stereotype was the fraudulent fortune teller who reforms in order to find love, or dies in the attempt. A third styling featured the evil "exotic" fortune teller, often Romani or Asian, who manipulates clients for monetary gain. A fourth concept was the wise elder who dons a costume and poses as a fortune teller to convey information to younger people in order to improve their lives. | |||
In addition to the cultural biases against fortune telling that permeate film, the portrayal of psychic readers faced other considerable barrier as a subject for film -- and that is the ludicrously | In addition to the cultural biases against fortune telling that permeate film, the portrayal of psychic readers faced other considerable barrier as a subject for film -- and that is the ludicrously |
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Crystal Balls in Film Part Two
When considering the subject of fortune telling, one is immediately hi with the generally agnostic or atheistic attitude toward any other form of spirituality or folk belief beyond extreme deference to Christianity (often in the form of Catholic devotionalism). Once the self-imposed film industry guidelines known as the Hays Code was instituted in 1934, not only was sexuality suppressed in cinema, but, with a few exceptions, actors from all ethnic minority cultures -- Jews , Blacks, Asians, Native Americans -- were mostly eliminated from leading roles and reduced to small comedy bits or set pieces as as villains or victims. Fortune tellers underwent the same degradation, and in very few post-Code films are the psychics truly psychic.
During the Hays Code era, from 1934 to 1968, fortune tellers were generally portrayed as comedic bumblers, scamming fraudsters, or wicked villains -- and sometimes two of three in the same film. One favoured trope was the fraudulent fortune teller who is is surprised when a prediction actually comes true. Another stereotype was the fraudulent fortune teller who reforms in order to find love, or dies in the attempt. A third styling featured the evil "exotic" fortune teller, often Romani or Asian, who manipulates clients for monetary gain. A fourth concept was the wise elder who dons a costume and poses as a fortune teller to convey information to younger people in order to improve their lives.
In addition to the cultural biases against fortune telling that permeate film, the portrayal of psychic readers faced other considerable barrier as a subject for film -- and that is the ludicrously
See Also
Lovely Ladies and Their Little Balls
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catherine yronwode
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