Center
7.7
Saint Maud
(2020)
Political: Center
Diversity: Moderate
LGBTQ: Neutral
Picturesque Tripoli (1911)
Bias Rating
Analyzing...
Center
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
Bias Dimensions
Political: Center
Diversity: Moderate
Islam: Positive
Judaism: Positive
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
The film's primary objective is to visually document and present a city in an aesthetically pleasing manner, lacking an explicit political agenda or a discernible ideological problem/solution framework.
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 travelogue focusing on a predominantly Muslim city, the film captures daily life, architecture, and cultural elements associated with Islam in an observational and uncritical manner, presenting it with inherent respect.
Through its straightforward, documentary-style cinematography, the film depicts Jewish life and presence in Tripoli respectfully, offering an uncritical and observational view of the community.
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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