User talk:Juliakaplowitz/sandbox

Sanaa Hamri—What’s Missing? What can be Added? I believe more information could be added about Hamri’s unique background as a Moroccan Jew and her transition to America. The “early life” section of the page is vague, and through my research, I know there is more relevant information about Hamri that could be added. Furthermore, I think there should be a greater emphasis on how Hamri is not only a woman filmmaker, but a non-white one, and how she has continually faced challenges in Hollywood but managed to overcome them. The sources I have found speak to Hamri’s roots as a non-white woman in Hollywood, and many of the subjects in her music videos and movies are African American. Hamri has been influential in Hollywood during a time where America’s racial acceptance is expanding, so this notion should definitely be highlighted on Hamri’s page.

5 Sources: 1.	Anderson, John. “Helmer Mixes Melting-Pot Roots, Singular Style.” FIAF International Index to Film Periodicals, vol. 418, no. 11, 2010, p. 5. Film Index International [ProQuest]. This article was taken from ProQuest and features an interview with Sanaa Hamri as she talks about her movie, “Just Wright.” The article is helpful because it also includes background information about Hamri’s upbringing that is missing from her current Wikipedia page. It adds a new perspective on Hamri’s work, for she is quoted saying that she doesn’t feel under any scrutiny as one of the rare women of color working in Hollywood. Hamri states, “I don’t feel this huge weight on me by any means,” and continues, saying, “I’m an international person, and the movies I want to be part of are those that people from all walks of life can enjoy, or get something out of.”

2.	Cartier, Nina. “Black Women On-Screen as Future Texts: A New Look at Black Pop Culture Representations.” Cinema Journal, vol. 53, no. 4, 2014, pp. 150–157. JSTOR [JSTOR]. Taken from JStore, this article focuses on black women’s representation in the media in recent years with a specific focus on how they’re sexualized on screen. While the article does not discuss Sanaa Hamri’s career extensively, it touches upon Nicki Minaj’s music video that Hamri directed, where Minaj is portrayed as a “Black Harajuku Barbie.” This source would be an interesting addition to Hamri’s Wikipedia page because there is not a ton of background information regarding the music videos Hamri directs, and it is imperative for viewers to know that Hamri is not simply creating entertaining music videos, but making a statement about racial representation.

3.	Cobb, Shelley. “Black Women, Romance, and the Indiewood Rom Coms of Sanaa Hamri.” Indie Reframed: Women's Filmmaking and Contemporary American Independent Cinema, 2016, pp. 154–168. JSTOR [JSTOR]. This link comes from a book chapter found on JStore and focuses on the social changes Hamri has brought up throughout her career. The author discusses how Hamri’s films “challenge all forms” by being films “about black women by a black woman.” The article continues to talk about how critics may be skeptical of Hamri’s seriousness about social oppression and feminism, as her films tend to be categorized as mainstream romantic comedy, yet the author claims that her films challenge the “structural silence imposed on black women.” The article continues to discuss stereotyping, and how Hamri has raised important issues through her work. I find this link extremely relevant and think it would be a positive addition to Hamri’s Wikipedia page, which does not talk about the impact of Hamri’s work.

4.	Drumming, Neil. “Can a Woman of Color Direct a Teen Flick for Middle America? Hollywood Thinks so. Sanaa Hamri Gets Her Due.” Something Next., vol. 39, no. 4, Aug. 2008, p. 62. Academic Search Complete [EBSCO]. This is a link taken from EBSCOhost and it talks about Hamri’s rise to the top as a non-white director as well as what she looks for when she’s directing movies. For example, one of her movies, "Something New," has a plot line that includes an interracial relationship and features a predominantly black cast. The article continues to discuss Hamri’s stance as a strong, independent director, and has many great quotes that could enhance her Wikipedia page.

5.	Richardson, Nicole Marie. “Lights, Camera, Dance!” Business of Entertainment Reel Prophets, vol. 37, no. 5, Dec. 2006, p. 124. Academic Search Complete [EBSCO]. This is a link taken from EBSCOhost and it discusses Hamri’s music video career specifically. While her Wikipedia page talks about the music videos Hamri directs, there is not a wide range of information as to why Hamri was drawn to the creation of music videos and her philosophy on them. The article also includes a great quote from Hamri and has more information about her reputation as a director, which I feel would be useful to add to her page.

Peer Review
ALL THINGS IN BOLD I CHANGED

Sanaa Hamri (November 15, 1974—Present) is a Moroccan-born American film, television and music video director. Hamri has worked with world-renowned artists including Prince, Mariah Carey, Nicki Minaj, and Sting (took out "just to name a few"). Hamri is recognized for her talent as a woman of color in Hollywood, as she thrives (this sounds opinionated; maybe change thrive) in an industry (took out mostly) dominated by powerful, white men. She has been influential in shedding light on the racial oppression and lack of color represented in Hollywood, and many of the subjects in the content she produces are African American. Some of Hamri’s most notable work to date is her film, Just Wright, starring Queen Latifah, the wildly successful (this is opinion, make it more encyclopedic and take out bias) Sister of the Traveling Pants 2, and her music video, Super Bass, which has over 600 million views on YouTube–her most watched (putting in watched instead takes out the bias that was present) video thus far.

Hamri was born to Moroccan-Muslim, Mohammad Hamri, and American-Jew, Blanche “Blanca” Hamri. Her parents met in Morocco, which is where Hamri spent the early years of her life. Since childhood, Hamri faced gender discrimination that would, like many women, follow her into her adult career. At one point, Hamri was the only female student enrolled in her high school, American School of Tangier. Eventually, Hamri received a scholarship and moved to the United States to attend university at Sarah Lawrence College.

Her education opened many doors for her, as Hamri was extremely talented and driven (take out the opinion; maybe just end the sentence after "opened many doors for her.". She moved to New York City after college with dreams of becoming an actress, but struggled to find work. However, Hamri progressed towards production and was a natural (casual sounding and opinionated; maybe say "and attained much success in this sector). After making several videos, she was discovered by famous cinematographer, Malik Hassan Sayeed, and her career began to take off.

Hamri has made her mark (cliché sounding; maybe say "has made a monumental impact on the Hollywood community" in Hollywood since the early 2000's and is still active in the film world. Her films have been described as “challeng[ing] all forms” '''(all forms of what? specify)''' by being “about black women by a black woman” (Cobb).

Professor Schreiber feedback
Julia - You have done some great work here. I agree with Adelaide's suggestions about phrasing and would also suggest that you consider tweaking a couple of additional phrases: First, when you say "lack of color" - perhaps change it to lack of representation of people of color? Also, you might rephrase the sentence where you say that she was discovered by Malik Hassan Sayeed. First, what does this mean exactly? He saw her work and then gave her a job? I would rephrase this dynamic so it's more detailed and therefore avoids giving him credit for her success. "Helped her" reads differently than "discovered her." Also, be sure to cite all of your sources. MJSProf (talk) 18:12, 15 April 2018 (UTC)