Film’s Potential through the Hearts of Actors
In 1872, the first feature film was created by Edward Muybridge. The first frame, contributed by the art of photography, of the motion picture improved by George Eastman and William H. Thereafter, throughout Hollywood’s history in the early 1900s, television series and movies make use of creative storytelling and dramatic intention from the actors, making the fantasy stories come alive on screen for the audience to enjoy (Polack). All originally created stories once appeared in books and comics and then, later is seen in movies and television series as legendary franchises. Those stories turn into a new twist, creating a new plotpoint in movies and television series by screenwriters, directors, and producers. Story plotlines are strictly limited to the point because they contain too much detail in film and television series. Today, in Hollywood’s film industry, women and other racial ethnicities such as black people, African Americans, are limited to appear on screen due to their social profile and social inequality. In other words, the industry dehumanizes and amuses women and black people in order to reach the industry’s potential based on women and African American’s body image and belief of how they should be presented through acting parts (Erigha 70-83 ). One expert, John W. Cones, strongly claims that “Hollywood movies contain patterns of bias with regard to which idea are portrayed positively or negatively. That’s because movies tend to mirror the values, interests, cultural perspectives and prejudices of their makers” (qtd. in Hoag 665). In spite of that, other experts may assure actors and actresses emerge as one of the great idiosyncratic natural attribute or developed skill. Rashad Robinson asserts that “Hollywood is a reflection of power structures in our country. We must take more steps to ensure real change that creates a better reality for our people both in and out of the industry” (qtd. in Hoag 665). Although the film industry receives ideally the appropriate amount of actors to portray certain characters, thereby the roles of women, people from the LGBT Community, and the deaf should appear more often to impersonate those characters to create a unique view in order to make the motion picture feel more realistic.
To begin, women should portray extraordinary characters in order to become dominant and to enrich their own control. Women taking on lead roles are unfortunately paid less just for their attractiveness and filling in on screen to sexually entice male figures, making males gain control of women (Hoag 653-654). Hollywood confronts an extreme obstacle under the constrained headline for women. Directors and producers appoint the appropriate roles for women making them less likely to vary among their own personification. For instance, women in acting roles are used as an erotic epitome to put an extra individual in a scene rather than for their charm, sophistication, megastar, villain, or heroic talent. Actress Margot Robbie, Naomi Lapaglia, “seduced her on-scene husband Leonardo DiCaprio, Jordan Belfort, while in front of 30 crew men packed in a little girl’s room just to shoot a perfectly-done scene in “17 hours” She revealed that she had to “bury the embarrassment and the absurdity” (Kavanagh). According to directors and producers’ own comfort of creativity in film “they quality of representation that characterizes the women … in Hollywood largely dictates the parameters for what kinds of culture they can and cannot produce” (Erigha 79). Even though women are found attractive due to their physical features, they should be paid more because they emphasize the meaning behind their roleplay based on their unique attributes; they embrace making a scene tremendously dramatic, and their vigor enchants superiority (655-658). Jennifer Lawrence portrayed as Katniss Everdeen in The Hunger Games film, is gifted once she revealed her ‘nurturing fierceness’ in the movie and to its legacy (Alexander). Melissa Benoist portrayed Kara Danvers, Supergirl, known for Superman’s cousin in the following television series “Supergirl” embraces ‘her superhuman abilities and be the hero she was always meant to be’ and her characteristic “vulnerability and earnestness” (King). This exemplifies that women like Lawrence and Benoist take big chances turning the new ordinary. Actresses’ strong purpose playing main roles captures a superiority.
Next, people from the LGBT Community should appear relatively indifferent in order to alternate the aspect of characterism. Gender-identity based actors such as those who are gay, lesbian, or bisexual disguise their characteristics to portray certain roles due to mainstream ludicrous judgement against them and the lack of liberal rights (661-662). Actress Alycia Debnam-Carey who portrayed Lexa on the television series “The 100” was done wrong by the producers when they portrayed her character in a certain way. “The furor over Lexa’s death has made ‘The 100’ producers more sensitive to how characters are written,” declared Executive Producer Jason Rothenberg, noted “that Lexa was killed off after she consummated her relationship with a female lover to heighten the sense of tragedy” The producers conspire valid reasons for lethally eliminating the eccentric persona (Hoag 663). Another example, an Australian actor Heath Ledger in the movie Brokeback Mountain died at age 28 due to suspected overdose, back in 2008, because he apparently was mistreated by fans who outrageously assumed the actor himself was as he repulsively portrayed Ang Lee. One fan’s opinion of the themes are “I think it’s an incredible shame that people go out of their way to voice their disgust or their negative opinions against the ways in which two people choose to love each other.” The actor fired back in a reverent way due the immature fans online “the pure fact of it is that it transcends a label: it’s human. It’s a story about two human beings, two souls that are in love.” (“Heath Ledger had the perfect response to people who called Brokeback Mountain’s Gay Relationship ‘Disgusting’). Some straight actors and actresses who portray gay characters support the LGBT Community. Actors and actresses who are queers should remain unhidden to dignify their talent and inspiration (Hoag 663-664). Actor Ezra Miller, who portrays Patrick in the film The Perks of Being a Wallflower, recently opened up about his sexuality (“Is Ezra Miller Gay? Here’s Everything You Need to Know About Him). Actress Ellen Page who portrayed Stacie Andree in the film Freeheld openly spoke about her sexuality even though it’s “remarkably rare” as a positive inspiration (Daddario). These classify the true quality, quality of characters, actors and actresses (865 Windels). A particular feature from a typical actor and actress make a habitual variation to portray as unique characters.
Finally, the deaf and the hard of hearing people should ironically fit the character’s role based on their talent. According to Hollywood’s industry, the deaf and those with hearing loss have permanent disabilities and those people are believed not to be capable of acting because Hollywood thinks that they need more resources (428). Deaf actors and actresses are considered silent people because they are “mute and unintelligent” in production; however, actors and actresses are able to hear play deaf characters, but show only a weakened point to the story (Johnson 2). According to the Marvel Comics, Hawkeye actor Jeremy Renner, Clint Barton is suppose to be deaf in the film in order for the stories of The Avengers to be realistic (Dumbaraog). Regardless of actors and actresses hearing loss or deafness, they alter an entirely new perspective of characterism (Foss 439). In truth, Hollywood should cast more deaf actors instead of hiring actors to play the deaf. For example, Actor Russell Harvard in the film The Hammer, the story of Matt Hamill is “a deaf student at Rochester Institute of Technology who won three collegiate wrestling championships” this blew viewers away ideally to represent a person’s ability to do something astonishing despite their disability (Metraux). In the following film, No Ordinary Hero: The SuperDeafy Movie, the first deaf actor John Maucere, as Tony Kane, crosspaths within another deaf character Jacob and like Tony he struggles to see things where other people cannot understand. Tony plays SuperDeafy superhero which “touches on the trials of Deaf people in a hearing culture and on the less than perfect education system for Deaf students” (Garrison). Imperfect people like the deaf and the hard of hearing stunned many viewers based on their skills.
Last but not least, Future actors and filmmakers, college students, can be a part of helping actors and actresses achieve their goal in making a film realistic. One solution is helping actresses find their attribute for a particular role. For example, college students can assist the casting director to find women, people from the LGBT Community, and the deaf community for roles. Film students can work with actors and actresses to create superheros or a villains with a twist, like Nicole Maines, the first transgender superhero as Nia Nal on “Supergirl” (Keveney) and Ruby Rose as “Batwoman’s alter-ego Kate Kane” (Annerino). Another solution is that people who are different can be more involved in the Hollywood Industry because stories undergo various aspects of creativity and a new ingenuity based on actors and actresses. Critics, who analyze film particularly prefer newly-interpret-pure storylines, and audiences will have a new perception of different types of people if; for instance, a hearing impaired, or deaf actor plays a deaf character. In addition to an interesting story, genres such as war, science fiction, thriller, crime, action, martial arts, aventure, comedy, drama, and romance will become natural if they incorporate diverse people. Finally, actors and actresses who are not gay or deaf can be supporting characters for gay or deaf actors and actresses’ main roleplay. Non-deaf actors can play a deaf characters to raise awareness about their struggles. The same is true for women and the LGBT. Future actors and actresses can change the foundation of Hollywood.
Ultimately, due to Hollywood’s film industry code of conduct, actors and actresses flair or natural ability helps them fit into the finest motion picture business for the public viewers. On the other hand, gender inequality and the inability to hear makes directors and producers automatically assume that these actors are incapable of acting. Despite these difficulties people inherit or accidently have, that talent in portraying a character is key to making magic in a film more realistic. Hollywood faces challenges from unique actors and actresses along the way in order for marvelous inspiration in movies and television series. Distinctive individuals, “pertaining to lesbian, gay, bisexual, and transgender (LGBT) people represents a call for human rights” (“LGBT Rights”) in order for newer audiences and critics to value respect. Audiences and critics judge those who are different and this is a huge mistake to make against someone. In the long run, actors and actresses who play theri suitable parts related to their personality in fact that they gain confidence. The idiosyncrasy of college students, future actors and actresses will not be blamed or feel guilty in the Hollywood Industry. In conclusion, this is a strong point among women, in LGBT Community, and the deaf while they exhibit their divergence into talent. Perhaps their creativity in talent rises against the odds, inspires, and manifests making the world a better place. The Hollywood Industry must vow and uphold liability protecting these unique individuals without question.
Alexander, Bryan “The ‘Hunger Games’ legacy: It’s Jennifer Lawrence’s World Now.” USA Today.
16 November 2015.
Annerino, Mike. “New ‘Elseworlds’ Trailer Revealed Ruby Rose’s Batwoman Out of Costume.” Heroic Hollywood.
5 December 2018.
Bigelow, Felicity and Crone, Damien L and Laham, Simon M and McCurrie, Caitlyn H. “Moral
and Affective Film Set (MAAFS): A Normed Moral Video Database.” PL0S ONE Volume
13, Issue 11. Pp.1-21.
14 November 2018.
Daddario, Daniel. “Ellen Page on Freeheld and Why She Came Out: ‘I Was Just Depressed.’” Time.
27 August 2015. Accessed on 4 December 2015.
Dumaraog, Ana. “Disability Activist Calls for Hawkeye to be Deaf in the MCU.” Screen Rant.
30 May 2018.
Erigha, Maryann. “Race, Gender, Hollywood: Representation in Cultural Production and Digital Media’s Potential for Change.” Sociology Compass. Volume 9, Issue 1. Pp.78-89.
Foss, Katherine A. “Constructing Hearing Loss or ‘Deaf Gain?’ Voice, Agency, and Identity in
Television’s Representations of d/Deafness.” Critical Studies in Media Communication.
Volume 31, Issue 5. Pp. 426-447.
December 2014. Accessed on 3 December 2018.
Keveney, Bill. “‘Supergirl:’ Nicole Maines shows her as TV’s First Transgender Superhero.” USA Today.
10 October 2018. Accessed on 5 December 2018.
Garrison, Gary. “No Ordinary Hero: The SuperDeafy Movie.” Way Too Indie.
19 August 2015. Accessed on 5 December 2018.
Gonzalez, Tiffany J. “LGBT Rights” Credo Reference.
2014. Accessed on 3 December 2018.
“Heath Ledger Had the Perfect Response to People Who Called Brokeback Mountain’s Gay Relationship ‘Disgusting.’” Attitude.
23 January 2018. Accessed on 4 December 2018.
Hoag, Christina “Diversity in Hollywood.” CQ Researcher. Volume 26, Issue 28.
5 August 2016. Accessed on 1 December 2018.
“Is Ezra Miller Gay? Here’s Everything You Need to Know About Him.” Answers Africa.
Accessed on 4 December 2018.
Johnson, Russell L. “‘Better Gestures’: A Disability History Perspective on the Transition from (Silent) Movies to Talkies in the United States.” Journal of Social History. Volume 51, Issue 1. pp.1-26.
Fall 2017. Accessed on 3 December 2018.
Kavanagh, Joanne. “Margot Robbie’s ‘embarrassment’ during raunchy Wolf of Wall Street Scene.” News.
3 December 2018. Accessed on 5 December 2018.
King, Chris. “Why Melissa Benoist Will Make a Great Supergirl.” TVOM.
2014. Accessed on 5 December 2018.
Metraux, Julia. “These 10 Films Feature Deaf and Hard of Hearing Actors” The Mighty.
20 June 2018. Accessed on 5 December 2018.
Peter Polack. “The History of the Hollywood Movie Industry” History Cooperative.
12 February 2017. Accessed on 2 December 2018.
Windels, Kasey. “Stereotypical or just typical: how do US Practitioners View the role and Function of Gender Stereotypes in Advertisements?” International Journal of Advertising. Volume 35, Number 5. Pp. 864-887.
September 2016. Accessed on 2 December 2018.