Tina takes control of the situation when she tries to initiate sex with Chris. Don't frame her in an attractive way throughout, but in the scene her dialogue, red light, etc. sexualizes her and means she takes control. She takes control of their sex life, which was him being dominant before, but at the end she's on top and strangling him.
At the end, she hooks up the caravan and drives off with it, after being shown earlier in the film to struggle hooking it up
Chris drives narrative at the start of the film (he murders, we spend more time with him at the start than at the end), but focusses on her at the end, she drives it
Earlier on the jokes are at the expense of women (her mum and her being weird/stupid)
At the end doesn't resolve, ends on her hand, means she's done
One of the only films to highlight low level toxic masculinity and it's effect on relationships
Martin - steals attention with manly interests, she's secondary. He contrasts with the horrible people they are, while he's harmless. The other victims we can deal with as they are faceless or have done wrong, but Martin is neither. Also suggests that the other victims are like Martin, but we wouldn't know
Like a documentary at first - humour from representations of nationality. E.g. sitting outside of the caravan in hail is quintessentially British
Murder - Ian and hiker, his murders, glamourized, kind of with Chailey. Aggressive, cinematic, slow motion
Picture of him and her on the bridge, like she planned on killing him
Killing Chailey is the closest to justified you can get, but quickly descends to arbitrary
She's ignored and manipulated by people (mum at the beginning), but killing gives her power. but for him it stops him from being emasculated 'I just want to be feared and respected'
Breaks taboo of women masturbating - liberating + phrasing could be foreshadowing as it's phrased ominously
Showing posts with label Ideology. Show all posts
Showing posts with label Ideology. Show all posts
Thursday, 13 December 2018
Monday, 17 September 2018
Sightseers
Directed by Ben Wheatley
Jump cuts
J Cuts
How would we apply feminism to this? Research: Male Gaze
Interesting juxtaposition between typical British tourism and serial killing
Feminist approach to film:
Tina plays the part of the defeneless woman. In fact, this point is reinforced by her childlike attitude, sheltered background and naive outlook on the world. This shows a patriarchal theme. However, subtle hints, combined with the ending of the film, point to the opposite. Chris follows Tina's suggestions and wishes, not instructions, portraying the stereotypical view of women and their role in the household. However, all these suggestions have impact, and are self serving to her. For example, suggesting Chris writes down his murders connects him to the crimes while giving her an alibi, which ties in aptly with her possibly planned 'suicide' trickery, leading to Chris' death not hers. It all suggests to Tina planning out the trip, with the end goal being murder, contrasting with her spontaneous murder of the runner.
Chris encompasses hyper masculinity - aggressive, domineering etc. Oppresses Tina.
'She was getting married' criticizing Tina for killing Chailey. Sees himself as almost a heroic figure, especially with the dream sequence. But gets attacked by the woman, predicting.
'Chailey' as a name, chavvy, slaggy names - criticizing women and their way of life she deems lower than her - contrasts with Tina's knitting and reserved life. Tina doesn't have a go at Chris for kissing Chailey, 'stand by your man' logic.
When Chris goes off, Tina instantly resorts to cooking for him. Traditional women role.
The mundane life of caravanning, combined with showing him plugging in, the toilets and shower etc. immerse us.
Men have the idea that the wrong they do serves a purpose, while women do wrong when they lose their temper, but subverts this at the end.
Debatable who is a muse to who. Creativity is tie to nature, and as the film progresses nature shown becomes wilder in landscape and weather.
Chris murders to gain control, Tina murders to lose it/Chris murders to feel empowered, and so can't escape what he resorts back to, while Tina goes to escape.
Comparing the first and last images of Tina - at the start, she's hiding behind a door, timid, not even the first person shown. Compared to at the end where she's smiling, standing high up - more confiden. Gone by being affected/controlled by someone to affecting/controlling someone
Research Sightseers
-
Talk about the fact that it's British, not Hollywood. It's therefore less stylized, key elements are more expressive than Hollywood. British films also focus on themes of British Realism more (Martin Scorsese says social realism is Britain's greatest gift to the world), which is derivative of Italian reaism. Seem to like to link in to 'ideology' in a different way - binary oppositions, ideaology of the tine etc. British film ideology tends to be more critical of society, cynical
Talk about Ben Wheatley and his desire to include elements ofgothic horror in a contemporary context - ie Hammer Films, which he sees as traditional British films
Postmodern setting - more realistic approach on Bonny and Clyde. Ie Natural Born Killers
Get in narrative themes of feminism, love and relationships - immediately go from honeymoon stage to old married couple, having sex all the time to when his friend gets in the way and damage their relationship to sitting outside the caravan in the rain like old people, also shows women in the relationship approaching power then being pushed back down. Violence theme - solution of problems, relatively little repercussion, easy
Number of different ideological frameworks for how to look at the world and in the films, got to look at the films through themes. The ideology that we look at it through and comes out of it is feminism. Ie women are oppressed in patriarchal societies
Narrative contrasts the almost primitive violence of Chris and the idea of serial killing with the mind-numbing boringness of reality
WE ATTACH ONE IDEOLOGY TO EACH FILM
Jump cuts
J Cuts
How would we apply feminism to this? Research: Male Gaze
Interesting juxtaposition between typical British tourism and serial killing
Feminist approach to film:
Tina plays the part of the defeneless woman. In fact, this point is reinforced by her childlike attitude, sheltered background and naive outlook on the world. This shows a patriarchal theme. However, subtle hints, combined with the ending of the film, point to the opposite. Chris follows Tina's suggestions and wishes, not instructions, portraying the stereotypical view of women and their role in the household. However, all these suggestions have impact, and are self serving to her. For example, suggesting Chris writes down his murders connects him to the crimes while giving her an alibi, which ties in aptly with her possibly planned 'suicide' trickery, leading to Chris' death not hers. It all suggests to Tina planning out the trip, with the end goal being murder, contrasting with her spontaneous murder of the runner.
Chris encompasses hyper masculinity - aggressive, domineering etc. Oppresses Tina.
'She was getting married' criticizing Tina for killing Chailey. Sees himself as almost a heroic figure, especially with the dream sequence. But gets attacked by the woman, predicting.
'Chailey' as a name, chavvy, slaggy names - criticizing women and their way of life she deems lower than her - contrasts with Tina's knitting and reserved life. Tina doesn't have a go at Chris for kissing Chailey, 'stand by your man' logic.
When Chris goes off, Tina instantly resorts to cooking for him. Traditional women role.
The mundane life of caravanning, combined with showing him plugging in, the toilets and shower etc. immerse us.
Men have the idea that the wrong they do serves a purpose, while women do wrong when they lose their temper, but subverts this at the end.
Debatable who is a muse to who. Creativity is tie to nature, and as the film progresses nature shown becomes wilder in landscape and weather.
Chris murders to gain control, Tina murders to lose it/Chris murders to feel empowered, and so can't escape what he resorts back to, while Tina goes to escape.
Comparing the first and last images of Tina - at the start, she's hiding behind a door, timid, not even the first person shown. Compared to at the end where she's smiling, standing high up - more confiden. Gone by being affected/controlled by someone to affecting/controlling someone
Research Sightseers
-
Talk about the fact that it's British, not Hollywood. It's therefore less stylized, key elements are more expressive than Hollywood. British films also focus on themes of British Realism more (Martin Scorsese says social realism is Britain's greatest gift to the world), which is derivative of Italian reaism. Seem to like to link in to 'ideology' in a different way - binary oppositions, ideaology of the tine etc. British film ideology tends to be more critical of society, cynical
Talk about Ben Wheatley and his desire to include elements ofgothic horror in a contemporary context - ie Hammer Films, which he sees as traditional British films
Postmodern setting - more realistic approach on Bonny and Clyde. Ie Natural Born Killers
Get in narrative themes of feminism, love and relationships - immediately go from honeymoon stage to old married couple, having sex all the time to when his friend gets in the way and damage their relationship to sitting outside the caravan in the rain like old people, also shows women in the relationship approaching power then being pushed back down. Violence theme - solution of problems, relatively little repercussion, easy
Number of different ideological frameworks for how to look at the world and in the films, got to look at the films through themes. The ideology that we look at it through and comes out of it is feminism. Ie women are oppressed in patriarchal societies
Narrative contrasts the almost primitive violence of Chris and the idea of serial killing with the mind-numbing boringness of reality
WE ATTACH ONE IDEOLOGY TO EACH FILM
Monday, 4 June 2018
Ideology in Shaun of the Dead
Binary opposites:
Living vs Dead
Adventurous vs Mundane
Change vs Stagnation
Living vs Surviving
Are we really living? Should be content with our lives, what matters is those closest to us
Repetition leads to apathy
In our own bubble
Made by and for Generation X - late 60s until mid 80s
Linear narrative - progression of Shaun - no one else changes as a character
Parody of zombie films so has to follow same chronological order
Fear of technology - Shaun is still a child due to technology
Living vs Dead
Adventurous vs Mundane
Change vs Stagnation
Living vs Surviving
Are we really living? Should be content with our lives, what matters is those closest to us
Repetition leads to apathy
In our own bubble
Made by and for Generation X - late 60s until mid 80s
Linear narrative - progression of Shaun - no one else changes as a character
Parody of zombie films so has to follow same chronological order
Fear of technology - Shaun is still a child due to technology
Friday, 1 June 2018
Films with stronger ideologies tend to make deeper connections to the spectator. How far do you agree? Refer to Shaun of the Dead and Trainspotting
Intro
Example of ideology and it's effects + another related example - Shaun of the Dead
Example of ideology and it's effects + another related example - Trainspotting
Example of ideology and it's effects + another related example - Shaun of the Dead
In this essay I will evaluate the concept that the stronger the ideology, the more it connects with the spectator, using two contemporary British films - Trainspotting (1996, Danny Boyle) and Shaun of the Dead (2004, Edgar Wright).
At first glance, Wright's Shaun of the Dead appears to be a simple comedy-horror film. However, upon closer inspection, SOTD's ideology pulls into focus the lives, and quality of life, of everyday people in contemporary Britain. The characters, in particular the protagonist, Shaun, represent the average 20-30 year old in mid-2000 Britain. The target audience - people of similar age and societal position who live similar lives, can therefore relate to the characters easily, and as a result receive the ideology behind the film, easily as well. One of the implicit binary opposites (Strauss) in this film is Adventure vs Normality. For example, at the end of the film Liz (Kate Ashfield) plans with Shaun (Simon Pegg) to go to the Winchester later that day, even though previously in the film a major catalyst of the story revolves around her hatred of the Winchester. This represents a changing of perspective in the character, where thanks to the previous fantastical/adventurous events (the zombie apocalypse is a common fantasy) she has reevaluated her life and has come to the conclusion that it's the 'normal' aspects of her life - a normal pub, average boyfriend etc., that she values the most. This is further shown by Shaun requesting two sugars in his tea for the first time in years and Liz remarking 'ooh adventurous' - people can find 'adventure' or a break from normality in their life through their average lives. An ideology such as this resonates with the target audience who can be assumed to fantasise of escaping normality, as it shows them the value of their everyday lives, as it's being clearly shown to them with the lives of the characters. As a result, with this example I agree with the statement that films with stronger ideologies make a deeper connection to the spectator, with the caveat that more implicit ideologies require a specific target audience to fully appreciate and relate to the meaning.
A prevalent idea in modern society is that we as a society have numerous dominant ideologies, which are reflected in the laws and rules we follow. For example, the Good Samaritan concept, laws surrounding theft, drug abuse, violence etc all reflect what we as a society believe. However, Trainspotting challenges this concept with the ideology that there's an undercurrent of depravity in our culture - everyone's morally reprehensible. The overdose/Perfect Day scene summarises this perfectly. Even though Renton (Ewan McGregor) is clearly close to death, the taxi driver literally leaves him in the gutter upon getting to the hospital, dragging him unceremoniously out onto the ground and taking his pay before leaving. Despite the fact that the film draws attention throughout the film to the mercenary mindset of the heroin addicts, showing a normal civilian like a taxi driver - someone everyone in the audience has interacted with, in a comparable light to the addicts it paints a picture that everyone is the same; apathetic to all others, selfish, ruthless. Not only is this counter to the dominant ideology of society, it goes against the core of the spectator's assumed beliefs. I think that this creates a deeper connection with the spectator, as it forces them to call into question their own beliefs and values and compare them to those presented to them.
However, there are some examples which would lead me to disagree with the statement. E.g.
Trainspotting was the first film since the 1960s to present British working class people/culture to the wider audience, as prior to this Richard Curtis-esque films were the norm - Four Weddings and a Funeral etc. Middle class London. This Boyle goes beyond the idea of showing a different aspect of British society, he actively follows an anti-English/anti-London ideology. For example, Renton, in his 'It's shite being Scottish' rant the English as 'effete'. The word summarises the Curtis perspective of England perfectly, showing the stark contrast between the reality of being working class in Scotland in comparison to the typical London lifestyle shown in British film. This would be relatable to a large portion of the target audience, as they would also be working class and possibly disillusioned with their county's representation as they don't relate to it either. In addition, the use of the word 'effete' shows Renton is a different light, as it's a relatively obscure word assumed to only be used by the educated. It shows the spectator that even the portrayed demographic, working class Scottish and addicts, aren't as they seem, going beyond the stereotype of uneducated, useless etc. Another example of the anti-London/English ideology is Renton's opinion of his move to and real estate job in London. The montage introducing the move is similar to a travel advert (something Boyle aimed for), making London appear idealistic, fun, positive. However, Renton describes London and his job there as 'cheating, scamming, fragmenting, breaking... there was no such thing as society and if there was I had nothing to do with it'. Such a description is directly comparable with what society assumes (and what is shown in the film) is the lifestyle of a heroin addict. The comparison shows that regardless of the position in society, and regardless of whether it's in Edinburgh or London, there is still lying and cheating and stealing, which contributes to the anti_ ideology, as it shows that although London is shown romantically the middle class lifestyle associated with it is still as negative as that of a heroin addict. I think that this would create a deep connection with spectators as they relate to the characters and their position in society, and seeing the other half of society being described as worse/equivalent to them would create a deep connection. This is evident by the 'Cool Britannia' culture that was prevalent at the time, and that Trainspotting kcik-started the 'heroin chic' trend of the late 90s.
In conclusion, I agree with the statement, however it only applies to the target audience as they're the ones that can relate to the deeper ideology as it applies solely to them.
Example of ideology and it's effects + another related example - Shaun of the Dead
Example of ideology and it's effects + another related example - Trainspotting
Example of ideology and it's effects + another related example - Shaun of the Dead
Example of ideology and it's effects + another related example - Trainspotting
In this essay I will evaluate the concept that the stronger the ideology, the more it connects with the spectator, using two contemporary British films - Trainspotting (1996, Danny Boyle) and Shaun of the Dead (2004, Edgar Wright).
At first glance, Wright's Shaun of the Dead appears to be a simple comedy-horror film. However, upon closer inspection, SOTD's ideology pulls into focus the lives, and quality of life, of everyday people in contemporary Britain. The characters, in particular the protagonist, Shaun, represent the average 20-30 year old in mid-2000 Britain. The target audience - people of similar age and societal position who live similar lives, can therefore relate to the characters easily, and as a result receive the ideology behind the film, easily as well. One of the implicit binary opposites (Strauss) in this film is Adventure vs Normality. For example, at the end of the film Liz (Kate Ashfield) plans with Shaun (Simon Pegg) to go to the Winchester later that day, even though previously in the film a major catalyst of the story revolves around her hatred of the Winchester. This represents a changing of perspective in the character, where thanks to the previous fantastical/adventurous events (the zombie apocalypse is a common fantasy) she has reevaluated her life and has come to the conclusion that it's the 'normal' aspects of her life - a normal pub, average boyfriend etc., that she values the most. This is further shown by Shaun requesting two sugars in his tea for the first time in years and Liz remarking 'ooh adventurous' - people can find 'adventure' or a break from normality in their life through their average lives. An ideology such as this resonates with the target audience who can be assumed to fantasise of escaping normality, as it shows them the value of their everyday lives, as it's being clearly shown to them with the lives of the characters. As a result, with this example I agree with the statement that films with stronger ideologies make a deeper connection to the spectator, with the caveat that more implicit ideologies require a specific target audience to fully appreciate and relate to the meaning.
A prevalent idea in modern society is that we as a society have numerous dominant ideologies, which are reflected in the laws and rules we follow. For example, the Good Samaritan concept, laws surrounding theft, drug abuse, violence etc all reflect what we as a society believe. However, Trainspotting challenges this concept with the ideology that there's an undercurrent of depravity in our culture - everyone's morally reprehensible. The overdose/Perfect Day scene summarises this perfectly. Even though Renton (Ewan McGregor) is clearly close to death, the taxi driver literally leaves him in the gutter upon getting to the hospital, dragging him unceremoniously out onto the ground and taking his pay before leaving. Despite the fact that the film draws attention throughout the film to the mercenary mindset of the heroin addicts, showing a normal civilian like a taxi driver - someone everyone in the audience has interacted with, in a comparable light to the addicts it paints a picture that everyone is the same; apathetic to all others, selfish, ruthless. Not only is this counter to the dominant ideology of society, it goes against the core of the spectator's assumed beliefs. I think that this creates a deeper connection with the spectator, as it forces them to call into question their own beliefs and values and compare them to those presented to them.
However, there are some examples which would lead me to disagree with the statement. E.g.
Trainspotting was the first film since the 1960s to present British working class people/culture to the wider audience, as prior to this Richard Curtis-esque films were the norm - Four Weddings and a Funeral etc. Middle class London. This Boyle goes beyond the idea of showing a different aspect of British society, he actively follows an anti-English/anti-London ideology. For example, Renton, in his 'It's shite being Scottish' rant the English as 'effete'. The word summarises the Curtis perspective of England perfectly, showing the stark contrast between the reality of being working class in Scotland in comparison to the typical London lifestyle shown in British film. This would be relatable to a large portion of the target audience, as they would also be working class and possibly disillusioned with their county's representation as they don't relate to it either. In addition, the use of the word 'effete' shows Renton is a different light, as it's a relatively obscure word assumed to only be used by the educated. It shows the spectator that even the portrayed demographic, working class Scottish and addicts, aren't as they seem, going beyond the stereotype of uneducated, useless etc. Another example of the anti-London/English ideology is Renton's opinion of his move to and real estate job in London. The montage introducing the move is similar to a travel advert (something Boyle aimed for), making London appear idealistic, fun, positive. However, Renton describes London and his job there as 'cheating, scamming, fragmenting, breaking... there was no such thing as society and if there was I had nothing to do with it'. Such a description is directly comparable with what society assumes (and what is shown in the film) is the lifestyle of a heroin addict. The comparison shows that regardless of the position in society, and regardless of whether it's in Edinburgh or London, there is still lying and cheating and stealing, which contributes to the anti_ ideology, as it shows that although London is shown romantically the middle class lifestyle associated with it is still as negative as that of a heroin addict. I think that this would create a deep connection with spectators as they relate to the characters and their position in society, and seeing the other half of society being described as worse/equivalent to them would create a deep connection. This is evident by the 'Cool Britannia' culture that was prevalent at the time, and that Trainspotting kcik-started the 'heroin chic' trend of the late 90s.
In conclusion, I agree with the statement, however it only applies to the target audience as they're the ones that can relate to the deeper ideology as it applies solely to them.
Sunday, 13 May 2018
Trainspotting
Main focus of British film is ideology (nihilism and a bit on addiction) and narrative
Controversial
Released in 1996
Directed by Danny Boyle, considered his and Ewan McGregor's breakout film
Nominated for Best Picture Oscar, won Oscar for Best Adopted Screenplay from Irvin Welsh - Trainspotting
Kick started 'Cool Britannia' along with other British films which inspired pride in British culture
Inspired heroin chic
Both surreal and realism
Cinematography to nihilism
Which comes first, nihilism or heroin? Is there any ideology in nihilism at all? Or is it just addiction
Controversial
Released in 1996
Directed by Danny Boyle, considered his and Ewan McGregor's breakout film
Nominated for Best Picture Oscar, won Oscar for Best Adopted Screenplay from Irvin Welsh - Trainspotting
Kick started 'Cool Britannia' along with other British films which inspired pride in British culture
Inspired heroin chic
Both surreal and realism
Cinematography to nihilism
Which comes first, nihilism or heroin? Is there any ideology in nihilism at all? Or is it just addiction
Ideology in Trainspotting
Everyone's morally reprehensible - taxi driver ditching Rent Boy, Diane blackmailing Renton into a relationship
Sticks to the dominant ideology that 'addicts are bad' but shows that its to do with their addiction not them as people
Anti London-Centric media representations:
First time since 1960s we've had representation of working class British people - before that it was Richard Curtis films - middle class London was the worlds view of Britain, shown by Renton describing the British as 'effete'
Challenges notion that London is the centre of the world, high vs pop culture - linked to Cool Britannia
Colour palette - dark but high contrast colours - red=danger, green=healing
Called Trainspotting because it's a hobby that no one else understands why you'd do it, you're ashamed to admit it etc. + you get 'track marks' on your veins when you inject heroin
Honest representation of heroin - challenges the view that junkies are passive victims
See loads of addicts - Begby alcohol/fighting, Renton's mum's Valium, Tommy exercising. In society there's power, attention, wealth, shopping, work addictions
Binary oppositions:
Addiction vs sobriety
Passivity vs choice
Culture vs depravity
Civilisation vs wild
Scenes showing addiction:
Toilet Scene - pills glow pure white while everything else is brown, even though they wouldn't realistically be clean
Bar Scene - Begby putting knife down, needs a quick fix of violence, but doesn't need the knife but is willing to use it
Knife Scene - Spud gets cut, repercussions of addiction harming others, last straw for Renton
Working Out Scene - Tommy's addiction to fitness
Anti-British scenes:
Renton's Rant - Why being Scottish is 'shite' (down to the English) and why the English are worse
Describing his London real estate job (the epitome of what life in London is/represents) as 'cheating, scamming, fragmenting, breaking... there was no such thing as society and if there was I had nothing to do with it' - directly comparable to the lifestyle of a heroin addict
Judge was English - us vs them, English in position of power
Nihilism - apathetic about situation, life, goals, drugs
Can't discuss the significance of Trainspotting without discussing Cool Brittania
Postmodern - style over substance ie sinking into the carpet, James Bond intertextuality especially with Sean Connery who's very pro Scottish, toilet scene. This gives us ideological views of drug addiction
WE ATTACH ONE IDEOLOGY TO EACH FILM
Sticks to the dominant ideology that 'addicts are bad' but shows that its to do with their addiction not them as people
Anti London-Centric media representations:
First time since 1960s we've had representation of working class British people - before that it was Richard Curtis films - middle class London was the worlds view of Britain, shown by Renton describing the British as 'effete'
Challenges notion that London is the centre of the world, high vs pop culture - linked to Cool Britannia
Colour palette - dark but high contrast colours - red=danger, green=healing
Called Trainspotting because it's a hobby that no one else understands why you'd do it, you're ashamed to admit it etc. + you get 'track marks' on your veins when you inject heroin
Honest representation of heroin - challenges the view that junkies are passive victims
See loads of addicts - Begby alcohol/fighting, Renton's mum's Valium, Tommy exercising. In society there's power, attention, wealth, shopping, work addictions
Binary oppositions:
Addiction vs sobriety
Passivity vs choice
Culture vs depravity
Civilisation vs wild
Scenes showing addiction:
Toilet Scene - pills glow pure white while everything else is brown, even though they wouldn't realistically be clean
Bar Scene - Begby putting knife down, needs a quick fix of violence, but doesn't need the knife but is willing to use it
Knife Scene - Spud gets cut, repercussions of addiction harming others, last straw for Renton
Working Out Scene - Tommy's addiction to fitness
Anti-British scenes:
Renton's Rant - Why being Scottish is 'shite' (down to the English) and why the English are worse
Describing his London real estate job (the epitome of what life in London is/represents) as 'cheating, scamming, fragmenting, breaking... there was no such thing as society and if there was I had nothing to do with it' - directly comparable to the lifestyle of a heroin addict
Judge was English - us vs them, English in position of power
Nihilism - apathetic about situation, life, goals, drugs
Can't discuss the significance of Trainspotting without discussing Cool Brittania
Postmodern - style over substance ie sinking into the carpet, James Bond intertextuality especially with Sean Connery who's very pro Scottish, toilet scene. This gives us ideological views of drug addiction
WE ATTACH ONE IDEOLOGY TO EACH FILM
Friday, 11 May 2018
Ideology in No Country for Old Men
Llewellyn (protagonist) is a Vietnam war veteran, but is flawed, while usually they're undefeatable (ie Predator, Commando)
Typically one man can win and make a difference, but he dies
Good always wins, evil loses, but Llewellyn dies, Ed-Tom gives up and Anton walks away with the money
Realism vs myth - reality is brutal
CHANGE AND CHANCE - Capitalist change, society going towards it, and poor people not having a chance - Marxist ideology
Money is the front of all evil
What it means to be a man - violence solves nothing
Context of Setting
America in the 1980s
Went from liberal 1970s to a new climate of reactionary attitudes
Reagan got into power, brought with him an era of 'New Right'
Anti government ideology
Cold war at it's height, arms race
Reagan: Aggressively capitalist government, relatively militaristic for the first time since the Vietnam War, a growth in a new form of conservatism, right wing ideologies become stronger and more mainstream - imagery of businessman changed
Serious rise in drug culture. In 1980's armed robbers were still at the top of the criminal food chain, and as the prison time was only 4-5 years for most offences there was a code of silence.
Society
Fragmented society - young and old, left and right
Cut backs in government spending coinciding with factory closures, many communities in economic collapse
Older industries cutting down
Rise of Corporate America, more personable companies exert a strong influence on everyday life, reward effort, strong hierarchies, seen to be morally dubious/borderline criminal
Greater stress on individuals rather than community, selfishness and greed admirable, self improving qualities
Cinema
Blockbuster risen in significance, large scale event films with simplistic plot lines dominate the cinematic landscape (Stallone, Schwarzenegger)
Era of action heroes, solve all problems with violence, seen as morally correct, ends justify the means, individualistic and uncompromising
No Country for Old Men explores and critiques these dominant ideologies, using each of the three main characters to confront the changing face of America
Anton being the corporations of America is summed up his last scene. Even freak accidents like a a car crash (or a market crash) don’t stop them. They will even take the shirt off someone else’s back to rebuild, their inhuman ability to grit their teeth and walk through the pain keeping them going. They suffer no retribution from the law, as they have already escaped, covering their own backs, possibly through the manipulation of those below them.
Llewelyn Moss
Blockbuster character - cinema section. Also represents the people on the fringes of society, the underclass. bourgeoisies
Anton Chigurh
Corporate America - aggressive - New Society section
Sheriff Bell
Communities dead - old society section. Police were still blue collar in the 1980s and so represents proletariat - gets things done by talking to people.
The man in the coin toss sequence is the people (family owned business, family minded), Anton is capitalism threatening to destroy it, the coin, ie money, is how its done
Typically one man can win and make a difference, but he dies
Good always wins, evil loses, but Llewellyn dies, Ed-Tom gives up and Anton walks away with the money
Realism vs myth - reality is brutal
CHANGE AND CHANCE - Capitalist change, society going towards it, and poor people not having a chance - Marxist ideology
Money is the front of all evil
What it means to be a man - violence solves nothing
Context of Setting
America in the 1980s
Went from liberal 1970s to a new climate of reactionary attitudes
Reagan got into power, brought with him an era of 'New Right'
Anti government ideology
Cold war at it's height, arms race
Reagan: Aggressively capitalist government, relatively militaristic for the first time since the Vietnam War, a growth in a new form of conservatism, right wing ideologies become stronger and more mainstream - imagery of businessman changed
Serious rise in drug culture. In 1980's armed robbers were still at the top of the criminal food chain, and as the prison time was only 4-5 years for most offences there was a code of silence.
Society
Fragmented society - young and old, left and right
Cut backs in government spending coinciding with factory closures, many communities in economic collapse
Older industries cutting down
Rise of Corporate America, more personable companies exert a strong influence on everyday life, reward effort, strong hierarchies, seen to be morally dubious/borderline criminal
Greater stress on individuals rather than community, selfishness and greed admirable, self improving qualities
Cinema
Blockbuster risen in significance, large scale event films with simplistic plot lines dominate the cinematic landscape (Stallone, Schwarzenegger)
Era of action heroes, solve all problems with violence, seen as morally correct, ends justify the means, individualistic and uncompromising
No Country for Old Men explores and critiques these dominant ideologies, using each of the three main characters to confront the changing face of America
Anton being the corporations of America is summed up his last scene. Even freak accidents like a a car crash (or a market crash) don’t stop them. They will even take the shirt off someone else’s back to rebuild, their inhuman ability to grit their teeth and walk through the pain keeping them going. They suffer no retribution from the law, as they have already escaped, covering their own backs, possibly through the manipulation of those below them.
Llewelyn Moss
Blockbuster character - cinema section. Also represents the people on the fringes of society, the underclass. bourgeoisies
Anton Chigurh
Corporate America - aggressive - New Society section
Sheriff Bell
Communities dead - old society section. Police were still blue collar in the 1980s and so represents proletariat - gets things done by talking to people.
The man in the coin toss sequence is the people (family owned business, family minded), Anton is capitalism threatening to destroy it, the coin, ie money, is how its done
Ideology in Blade Runner
Explicit
Pro-humanity
Future gets worse - dystopian
Fear of Asian/Japanese culture
Freedom
Man vs Machine
Isolation
Dystopian future, negative ideology, plays on fear of time about nuclear holocaust
Implicit
Humanity can be achieved by things other than human beings
Pro-humanity
Future gets worse - dystopian
Fear of Asian/Japanese culture
Freedom
Man vs Machine
Isolation
Dystopian future, negative ideology, plays on fear of time about nuclear holocaust
Implicit
Humanity can be achieved by things other than human beings
Ideology
A set of views and ideas and values that are held by a society or a group within society
Societies have dominant ideologies - lying is bad
Karl Marx - the problem with society is that we changed from the ideological to the material
Not all ideologies are true
Different groups have different ideologies
Ideology falls in to two different categories in film:
Explicit
Films like superhero, war, westerns - violence solves problems
Good vs Evil
Love will conquer all - Rom Coms
Golden era Hollywood reenforces dominant ideology
Implicit
Harry Poter films - equality, chosen one isn't nice, shouldn't judge on impressions etc.
Some films appear to be neutral in terms of ideology but always will have implicit ideology
Echo Chamber
Surrounded by own views and doesn't listen to others
Things that contribute to a film's ideology:
Genre
Context of production (time, place it was made)
Target audience
Diegesis (setting)
Perspective of audience
Dialogue
Ending/resolution
Ideologies and views of crew
Characterisations (think about film behind a different character)
Pace
Narrative
Binary oppositions for set up in the narrative will set up the ideology
Societies have dominant ideologies - lying is bad
Karl Marx - the problem with society is that we changed from the ideological to the material
Not all ideologies are true
Different groups have different ideologies
Ideology falls in to two different categories in film:
Explicit
Films like superhero, war, westerns - violence solves problems
Good vs Evil
Love will conquer all - Rom Coms
Golden era Hollywood reenforces dominant ideology
Implicit
Harry Poter films - equality, chosen one isn't nice, shouldn't judge on impressions etc.
Some films appear to be neutral in terms of ideology but always will have implicit ideology
Echo Chamber
Surrounded by own views and doesn't listen to others
Things that contribute to a film's ideology:
Genre
Context of production (time, place it was made)
Target audience
Diegesis (setting)
Perspective of audience
Dialogue
Ending/resolution
Ideologies and views of crew
Characterisations (think about film behind a different character)
Pace
Narrative
Binary oppositions for set up in the narrative will set up the ideology
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