Questions

1. What is the rhetorical purpose of the opening quotations from Thomas Schumacher and Peter Schneider? How do they contribute to the argument made by the authors?

   Question

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   Questions: - What is the rhetorical purpose of the opening quotations from Thomas Schumacher and Peter Schneider? How do they contribute to the argument made by the authors?
2. In the second paragraph, Gary Edgerton and Kathy Merlock Jackson state that the film Pocahontas is “a parable of assimilation.” What do they mean by that?

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   Questions: - In the second paragraph, Gary Edgerton and Kathy Merlock Jackson state that the film Pocahontas is “a parable of assimilation.” What do they mean by that?
3. The authors say that the “lofty sentiments” of the song “Colors of the Wind” are “down-played by the film’s overriding commitment to romantic fantasy” (par. 5). Is the movie overly romantic? If so, does that romanticism undermine the value and effect of the song? Explain.

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   Questions: - The authors say that the “lofty sentiments” of the song “Colors of the Wind” are “down-played by the film’s overriding commitment to romantic fantasy” (par. 5). Is the movie overly romantic? If so, does that romanticism undermine the value and effect of the song? Explain.
4. The authors write: “The film’s scriptwriters chose certain episodes from her life, invented others, and in the process shaped a narrative that highlights some events, ideas, and values, while suppressing others” (par. 7). For example, historians deny the love story portrayed between Smith and Pocahontas. In addition, the song has Pocahontas asking herself: “Should I marry Kocoum?” Historical accounts tell us that Pocahontas did marry him. Why would the filmmakers decide to do what Edgerton and Jackson claim? Is it true that the filmmakers “terminate the narrative at the most expedient juncture,” avoiding the awful realities of history “to keep audiences as comfortable as possible by providing a predictable product” (par. 8)?

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   Questions: - The authors write: “The film’s scriptwriters chose certain episodes from her life, invented others, and in the process shaped a narrative that highlights some events, ideas, and values, while suppressing others” (par. 7). For example, historians deny the love story portrayed between Smith and Pocahontas. In addition, the song has Pocahontas asking herself: “Should I marry Kocoum?” Historical accounts tell us that Pocahontas did marry him. Why would the filmmakers decide to do what Edgerton and Jackson claim? Is it true that the filmmakers “terminate the narrative at the most expedient juncture,” avoiding the awful realities of history “to keep audiences as comfortable as possible by providing a predictable product” (par. 8)?
5. What is the meaning and purpose of the textual citation in paragraph 8: (Barbour; Fritz; Mossiker; Woodward)?

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   Questions: - What is the meaning and purpose of the textual citation in paragraph 8: (Barbour; Fritz; Mossiker; Woodward)?
6. Does the film reinforce stereotypes, as the authors claim, or does it enlighten its viewers about racism and intolerance, as Thomas Schumacher suggests in the epigraph to the article? Explain.

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   Questions: - Does the film reinforce stereotypes, as the authors claim, or does it enlighten its viewers about racism and intolerance, as Thomas Schumacher suggests in the epigraph to the article? Explain.
7. In paragraph 13, the authors ask, “Can a Disney animated feature be substantive as well as entertaining?” Is that a rhetorical question? If so, what does it imply? If not, how would you answer it?

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   Questions: - In paragraph 13, the authors ask, “Can a Disney animated feature be substantive as well as entertaining?” Is that a rhetorical question? If so, what does it imply? If not, how would you answer it?
8. In the final paragraph, the authors write that “the film is alternately described as progressive or escapist, enlightened or racist, feminist or retrograde.” Must the film be regarded as an either-or experience? What is your position on these juxtaposed responses? Explain.

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   Questions: - In the final paragraph, the authors write that “the film is alternately described as progressive or escapist, enlightened or racist, feminist or retrograde.” Must the film be regarded as an either-or experience? What is your position on these juxtaposed responses? Explain.