Ritical analysis of intructors question

Introduction of the assignment: During this last unit of a?C Lit 272 a Love, Sex and Violencea?, we discussed the advent of a new generation of cinema from the 1980s into the 1990s, one in which the forms of resistance and experimentation of the 1970s are abandoned in mainstream US film to some extent, but are taken up in international and US independent cinemas. In this regard, we looked at The Cook, the Thief, His Wife and Her Lover, The Crying Game and Do the Right Thing. Whereas TV reflected a new form of conservatism particularly during the 1980s, a surprising number of prime-time shows, which concentrated on traditional family values, began to include people of color. The Cosby Show, the first show to focus on a middle class African-American family on US network TV, took center stage. At the same time, many counter-culture comedians who made their names during the 1970s continued to gain prominence, independence and significantly larger touring gigs. Often those shows were recorded and played on cable television, which also new to the media landscape. We considered Richard Pryor and Eddie Murphyas careers to examine consistencies and contrasts between the two and their relationships or potential lack thereof with Bill Cosby. Among other ideas, we interrogated buffoonery, stereotypes, so-called a?raw/real vs. crossovera? stand up performances, legacy and intersections of gender and race.

Instructors question is: Spike Lee is a talented filmmaker of the late 1980s into the 1990s. His early films were part of the rise of the American independent film movement. Please discuss the ways Lee offers a complex double-edged critique of mainstream and marginalized American communities alike in Do the Right Thing. How do property, power/disempowerment, ownership, violence and love relate to each other in Leeas critique?