Leans Traditional
7.6
The Hand Behind the Mouse: The Ub Iwerks Story
(1999)
Political: Center
Diversity: Low
Quentin Roosevelt; Clemenceau and Foch, 1917-1919 (1918)
Bias Rating
Analyzing...
Leans Traditional
Viewer Rating
Not Rated
Overview
Film appears to have been photographed in France during WWI. Medium close shot of Quentin Roosevelt with a small building in background; brief shot of French and American officers, including Lieutenant Edward V. Rickenbacker at immediate right, talking; view of a troop train moving through a European town as people line the tracks waving to soldiers. Final sequence is medium close panning shots, from left to right, of: John J. Pershing, commander in chief of American forces; André Tardieu, French diplomat; Premier Georges Clemenceau of France; Marshal Ferdinand Foch, commander in chief of French forces; an unidentified French officer; General Maxime Weygand, staff officer to Foch; and Major General James W. McAndrews, general chief of staff of American forces, posing as they leave a building.
Starring Cast
Bias Dimensions
Political: Center
Diversity: Low
Christianity: Positive
Overview
Film appears to have been photographed in France during WWI. Medium close shot of Quentin Roosevelt with a small building in background; brief shot of French and American officers, including Lieutenant Edward V. Rickenbacker at immediate right, talking; view of a troop train moving through a European town as people line the tracks waving to soldiers. Final sequence is medium close panning shots, from left to right, of: John J. Pershing, commander in chief of American forces; André Tardieu, French diplomat; Premier Georges Clemenceau of France; Marshal Ferdinand Foch, commander in chief of French forces; an unidentified French officer; General Maxime Weygand, staff officer to Foch; and Major General James W. McAndrews, general chief of staff of American forces, posing as they leave a building.
Starring Cast
Detailed Bias Analysis
Analyzing...
Leans Traditional
Primary
The film's title, 'Scenes of the British royal family,' suggests an observational or archival presentation without any explicit narrative or directorial framing. In the absence of specific content details or authorial intent, it is impossible to attribute a political bias, leading to a neutral rating.
The movie, featuring scenes of the British royal family, utilizes traditional casting that reflects the historical and institutional composition of the monarchy. Its narrative frames traditional identities neutrally or positively, without incorporating explicit DEI critiques.
Secondary
The film implicitly portrays Christianity positively through its depiction of the British royal family, who are the heads of the Church of England. Their public duties and dignified presence, presented without critique, affirm the established role and perceived virtues of the faith within the monarchy and state.
Based on the lack of provided film content, no identifiable LGBTQ+ characters or themes could be evaluated. Therefore, the portrayal is categorized as N/A, indicating no depiction.
The film 'The Priest Killer' does not appear to feature any transsexual characters or themes. Publicly available plot details and cast lists do not indicate any such portrayals, leading to a determination of N/A for its net impact on this specific demographic.
The movie does not contain any action or adventure elements.
This 1918 film depicts real historical figures from the British royal family. There is no evidence or historical record to suggest that any member of the royal family was portrayed on screen with a gender different from their documented historical gender.
This 1918 film documents actual scenes of the British royal family. As a historical record, it would depict the real individuals, whose race is historically documented as white, or actors accurately portraying them. There is no evidence or historical context to suggest a race swap occurred.
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