Provide a 11 pages analysis while answering the following question: To What Extent Does the Theme of Family or the Childhood Preoccupy Contemporary Cinema. Prepare this assignment according to the guidelines found in the APA Style Guide. An abstract is required. In the early cinemas of the 1950s, the theme of family and childhood were depicted in a very positive light. These families, which featured in most television and theatre shows, consisted of heterosexual fathers and mothers who were very dedicated to their monogamous marriages that were strongly founded on both material and emotional support. The fathers were very affectionate and caring. Mothers were portrayed as the ideal homemakers while children were obedient to their parents and well-behaved. Each family member seemed to know his or her obligatory role in the community (Bresson, 1997, pp. 223-434). In that era, cinemas portrayed fathers as the sole breadwinners while their wives and children were dependents. This scenario rendered both mothers and children totally submissive and answerable to the head of the house. the father.
In the early 1990s, a radical change hit the film industry and the family theme depiction took a new dimension as seen in Train Sporting (1996). There was an introduction to career women in society. Thus, both the husband and the wife were income earners. The working-class women betrayed the traditional loyalty to their husbands since they were no longer the sole breadwinners. These women started to compete with their men on various family issues. Men felt a bruise on their egos and reacted with violence, as seen in The Burning Bed (1984). This marked the origin of domestic violence in cinemas. Marriages started to break up and children had to be raised by their stepfathers and stepmothers. These children were shown to lack proper guidance from their half parents and adopted bad behaviors and became violent as well. At a very tender age, a child could be seen in a film abusing drugs and alcohol. in films, such as Trainspotting (1996), Traffic (2000), and Requiem for a Dream (2000). Unlike the 1950 cinematic families that solved their conflicts with a lot of maturity and diplomacy, the modern cinematic families have resorted to violence (Mendelbaum, 2007, pp. 34).