Progressive
8.4
Knives Out
(2019)
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Diversity: High
LGBTQ: Neutral
Picturesque Tripoli (1911)
Picturesque Tripoli (1911)
Overview
Oasis in the desert: we see palm trees, camels, and a panoramic view of the village. Men exit a mosque. Women and children assemble and the women prepare a meal--smiling and laughing when they notice the camera. A group of men and children emerge with a camel from an underground gallery. A man harvests fruits from a tree. A woman vigorously crushes the fruit with a stone. A child stomps the fruit with his feet inside a container. The people often look directly at the camera while they work. We see the process of their labor production, followed by views of the old fortress, the citadel, and the village. A woman fetches water from a well in a bucket. A donkey raises a ruckus and causes a scene. A small child smiles and nods while holding the side of his head after a fight, indicating that he did well.
Starring Cast
Rating & Dimensions
Bias Rating
Analyzing...
Center
Political: Center
Diversity: Moderate
Christianity: Positive
Islam: Positive
Judaism: Positive
Viewer Rating
Not Rated
Overview
Oasis in the desert: we see palm trees, camels, and a panoramic view of the village. Men exit a mosque. Women and children assemble and the women prepare a meal--smiling and laughing when they notice the camera. A group of men and children emerge with a camel from an underground gallery. A man harvests fruits from a tree. A woman vigorously crushes the fruit with a stone. A child stomps the fruit with his feet inside a container. The people often look directly at the camera while they work. We see the process of their labor production, followed by views of the old fortress, the citadel, and the village. A woman fetches water from a well in a bucket. A donkey raises a ruckus and causes a scene. A small child smiles and nods while holding the side of his head after a fight, indicating that he did well.
Starring Cast
Detailed Bias Analysis
Analyzing...
Center
Primary
As a silent travelogue from 1927 titled "Picturesque Tripoli," the film is primarily an observational piece focused on the aesthetics and daily life of the city. Without any explicit narrative or thematic content suggesting a political stance, it is best categorized as neutral, serving primarily as a historical and cultural observation.
This 1909 travelogue naturally features a diverse cast due to its setting in Tripoli, reflecting the local population rather than intentional modern DEI casting. The narrative maintains a neutral or positive framing of traditional identities, consistent with films of its era, and does not engage in explicit critique of dominant societal norms.
Secondary
As a 'picturesque' travelogue, the film likely depicts Christian adherents and practices as an integral and dignified part of Tripoli's diverse cultural landscape, presenting them without critical commentary and aligning with the city's overall visual appeal.
The film, as a 'picturesque' travelogue, depicts Muslim adherents and practices as a central, dignified, and visually interesting component of Tripoli's cultural identity, presenting them without critical commentary and aligning with the city's overall visual appeal.
The film, being a 'picturesque' travelogue, portrays Jewish adherents and practices as an integral and dignified aspect of Tripoli's rich cultural tapestry, presenting them without critical commentary and aligning with the city's overall visual appeal.
This silent travelogue from 1927 focuses on the scenery and culture of Tripoli. There is no evidence or historical record to suggest the presence of LGBTQ+ characters or themes within its content, leading to an N/A rating.
The 1911 silent film 'The Irish Honeymoon' depicts a newlywed couple's journey through Ireland. Available plot summaries and cast information do not indicate the presence of any transsexual characters or themes. Consequently, there is no identifiable portrayal of transsexual individuals or related themes within the narrative.
The movie does not contain any action or adventure elements.
As a 1911 documentary/travelogue, "Picturesque Tripoli" does not feature named characters with established canonical or historical genders that could be subject to a gender swap. The film likely depicts real people in a non-narrative context.
This 1911 film is a short documentary or travelogue depicting scenes from Tripoli. It does not feature fictional characters with pre-established racial identities from source material, nor does it portray historical figures in a manner that would constitute a race swap.
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