Leans Traditional
6.8
Walk Hard: The Dewey Cox Story
(2007)
Political: Center
Diversity: Low
Nina Simone: Live in Antibes - July 24th, 1965 (1965)
Bias Rating
Analyzing...
Center
Viewer Rating
Not Rated
Overview
Nina Simone live at Jazz à Juan — the International Jazz Festival in Juan-les-Pins, Antibes, France on July 24th, 1965. Nina performed twice at Jazz à Juan in 1965: on July 24th and July 25th. This is the full recording of Nina's first concert that year. Nina appears with Lisle Atkinson (on bass), Rudy Stevenson (on guitar & flute) and Bobby Hamilton (on drums)
Starring Cast
Bias Dimensions
Political: Leans Left
Diversity: Low
Overview
Nina Simone live at Jazz à Juan — the International Jazz Festival in Juan-les-Pins, Antibes, France on July 24th, 1965. Nina performed twice at Jazz à Juan in 1965: on July 24th and July 25th. This is the full recording of Nina's first concert that year. Nina appears with Lisle Atkinson (on bass), Rudy Stevenson (on guitar & flute) and Bobby Hamilton (on drums)
Starring Cast
Detailed Bias Analysis
Analyzing...
Center
Primary
The film is rated left-leaning due to its central focus on the 'trouble' faced by a daughter-in-law, which inherently critiques traditional family expectations and gender roles by highlighting the burden placed upon women within such structures.
Based on the absence of specific details regarding casting, character diversity, or narrative themes, the movie does not present any explicit DEI characteristics in its representation or storytelling.
Secondary
Based on the provided information, there is no content available to assess the portrayal of LGBTQ+ characters or themes in the film {难为了家嫂}. Therefore, no depiction can be identified.
The film "Americans on Everest" (1965) is a documentary about mountaineering. There are no identifiable transsexual characters or themes present in the narrative. Therefore, the film has no depiction relevant to transsexual identity or experiences.
The movie does not contain any action or adventure elements.
Without information regarding source material, prior adaptations, or historical figures for this 1965 film, it is not possible to identify any characters who were previously established as one gender and then portrayed as another.
This 1965 Hong Kong Cantonese opera film features traditional Chinese characters portrayed by East Asian actors, consistent with the source material and cultural context. There is no evidence of any character canonically established as one race being depicted as a different race.
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