Posted at 12.14.2018
What do you understand by the idea of film and ideology. With reference point All That Heaven Allows and or other films from this product, write an article that explores the ideological messages - or politics of course or race or gender or ethnicity - in the decided on film or films.
Ever since their creation in the late 1800s, motion pictures have been considered an interesting and fascinating form of visible entertainment that presents experiences unfolding. However, the pre and post world battle one time have given motion pictures a new purpose, that of demonstrating different ideologies. Ideologies can be defined as the ideas and manners of thinking about a particular group, social school or even individuals. This article will illustrate how motion pictures explore different ideological emails with regards to ALL OF THAT Heaven Allows by Douglas Sirk.
Films have been considered by the bourgeoisie, or ruling school as a classic appearance of the human being condition. However, they are seen as commodities that are specific to a historical period with time which privileges capitalism as well as the ruling category, but was created to appear as a standard interest of most members of culture (Marx 135) through the use of ideology. In fact, movies have a tendency to present audiences with certain types of habit, which can be either considered as positive or negative depending on how the characters portray them. These behaviours usually reveal the filmmaker's own worth which will inevitably highlight the value of certain establishments. Some argue that a filmmaker's responsibility is to show a depiction of reality (Klinger 31). However, the word 'certainty' is relative.
The merging of ideology and film has allowed the endorsement of the dominating values that population approves of, thus the marginalization of other alternatives (Barthes 44) meaning the public gets what it approves of. This reinforces the ideals set up by world and uses motion pictures to make utopic versions of the beliefs rather than reality. Additionally, this endorsement induces false consciousness through diversion and misinformation (Marx 72), which eventually prevents the working class from overthrowing capitalism. This theory assumes that people are 'social dopes', and therefore they take in the standardized directives given by society, and carry on these jobs without question (Garfinkel 54). For example, they might express either implicitly or explicitly a woman's place is only at home or that interclass connections are not possible.
However, many movies questioned the beliefs put on a pedestal by society (Give 33) through different film aspects such as the colors used, the costumes as well as the mise en landscape.
The movie ALL THE Heaven Allows by Douglas Sirk in 1955 is categorized under melodrama, a genre recognized to exaggerate both plot and characters to be able to appeal to feelings. Melodramas usually portray clich charming or home situations that mainly only charm to female people. This specific genre reinforces stereotypes of genders, contest, class and ethnicity.
Sirk, however, uses melodrama in the movie to show the failing of the ideologies that occurred in the 1950s, an era characterized by conformity, conservatism, conformity, materialism as well as anticommunism (Barry 45).
The movie portrays the internal and external conflicts that an affluent widow known as Carey Scott with two college older children, Kay and Ned, undergoes as she makes an attempt to use of her bourgeois type lifestyle through a love affair she has with Ron Kirby, her Gardner.
It is clear from a variety of moments in this film that the usage of colors, reflections and individuals are essential to depict a style of stereotypical gender tasks in a aesthetic manner. The mise - en -field pushes the idea of women being trapped in the confines of their own homes. Several shots of Cary through the reflection of the triangular shaped objects of her house such as glass windows; picture frames and even Television sets make reference to a prisoner held in a cell. In addition, her house is a cluttered clutter filled with furniture and memorabilia that refer back again to her previous marriage with the daddy of her children, the successful businessman. A couple of white plants is placed all over the house representing Carey's frail beauty as well as mental state while also setting up a tone of melodrama. This approach to representation and echoing are establish to imply a sense of despair and sadness.
Moreover, the dcor of Carey's house falls in line with that same idea of sadness. The colors within her house are extremely minimalistic and use the gray range that uses usually blacks, whites and greys. Interestingly enough, they are the colors that Carey's persona is seen using throughout the movie, apart from the risk red dress. According to Haralovich (Lehmann 7) different colors put into displays can help communicate thoroughly the dominant ideologies behind a movie. One can therefore think of Carey as part of the house, as trapped in as the walls.
Further more, the utilization of middle and close up shots, combined with the reflective shots generate a mise-en-scene that not only illustrates Cary's physical and psychological disposition but also how that impacts the representation of women in relation to their stereotypical gender jobs.
Although gender equality was a thought that was almost accomplished during the Second World Battle (1939-1945), the majority of the films in the 1950s reused pre conflict ideas about a woman's devote American population (Benshoff 490), a woman's place was back at home.
Even though Carey tries to use of the conformity where she lives in and the public predicament she's in due to the fact that Kirby is considered as beneath her, the traditional notions of gender politics are strengthened. Carey is asked to stop a life she began with one man, her now deceased man, to start a new one with a different man, Kirby.
To have the ability to further pursue her marriage with Kirby, it seems that she must abide by his lifestyle, and submit to his hopes, as he's the person. This clearly demonstrates the bourgeoisie gender ideology that women are to stay and hold out for a man to come build-up their lives on their behalf. This was Kay's case, even though she was learning to earn a diploma in Freudian psychology, which designed that she could venture out in to the working world on her, own, she was ready to be wooed by the possible suitor to eventually get married.
This upper class ideology experienced an impact on Ron Kirby that grew over time through his exposure to Carey's world. Kirby feared that giving directly into everyone of Carey's demands, he would be forced to live by her ways, in her world, burning off all his masculinity. Ron's masculinity was already placed into question.
Although he does indeed seem to be the breadwinner like what sort of man should stereotypically be, his masculinity appears somewhat artificial. Through the entire movie, the halloween costumes he is using are extremely working class but seem proper at the same time. His tee shirt and trousers always matched up, and his red flannel clothing always seemed to be tucked in, in a cool way. He was very well groomed, along with his hair slicked again, unlike any man who actually dabbles in groundwork.
In a later landscape, he instructs Carey to defy the standard conventions and be her own master, as being a man is. This completely contradicts his action towards moving into Carey's house. On this scene, he attempts to take care of her as an equal but fails to respect that idea when he seems that this will threaten his manhood. Ron here shows a more adaptable view of appropriate habits for men and then for women. Decision-making was considered to be a task remaining for men, and it is clear that during and even after her first marriage, Carey made no decisions of her own in any way.
The economic extension of the 1950s allowed certain individuals to upgrade their public statuses, forcing certain women to give up their jobs and become submissive, but many still belonging to the working school needed to work in the same identical manner as men, all while retaining a strong body. This was seen through the depiction of one of the get-togethers hosted by Ron's friends. The women lifted the tables and set up them without using or anticipating any help from the men, who also didn't feel the need to assist. Kirby somehow places Carey in sort of transitional period where he will not want her to be as submissive as the women in her sociable class, but also will not want her to be as independent as the ladies in his. He does allow her certain 'privileges' when he can take her to the store past due at night, a point in time when a female should be at home rather than out.
Although the idea of gender functions in this movie is important, it cannot stand-alone, as it is irrelevant without that of conformism
The opening landscape of the movie, a higher angle view of an peaceful New England town with rows of an infinite amount of uniform houses, sets the color palette as well as the perfect encapsulation of the conformity, obsessed American in the 1950s.
The citizens of this town are portrayed as typical upper school suburban, uptight young families, who live by their conformity.
The film constantly strains Ron and Carey's opposing life-style through their friends. Carey is constantly encircled by her higher school professional and pretentious cliques, who follow each other like sheep. They live by rigorous rules and etiquette. A fantastic personification of this conformity is Sara Warren, one of Carey's friends who will serve both as an outstanding model example of what a perfect bourgeois girl should be, and a reminder to both audience and her friends the value of staying within their communal confines, by stressing the value of appearances. Although her friends are well educated, they lack a finesse that would allow them to comprehend Carey's outcries.
During one of the earliest scenes, at the Stooneybroke country membership, her friends anxiously await on her behalf introduction with Ron. She determines to wear a low cut red dress instead of her usual black and grey clothes. Actually, the other women's proper blue, gray, white and dark gowns, in contrast to Carey's fire truck dress accentuated the bourgeoisie's frigid, stiff and uninviting dynamics. The severe white lighting shows their neediness to want to know everything, which in the end showed in their patterns towards Carey and her dress. Her attempt to stand out from the rest of her peers backfires when she is not only seriously critiqued but also recognised incorrectly as someone who is selling their sexuality. Carey's friends, especially Mona, remind Carey where her place in this world is and this she actually is taking a big risk by wanting to stand out. The long pictures taken in this scene, distances the audience from the partygoers. It scales the area, following Carey to help expand stretch into a panoramic view that shows off the extreme and lavish mise en field.
This exterior look at of breaking out of the norm, by asserting her autonomy and personality, is not clearly grasped by her neighbours who don't have access to the reality beyond their confines. Actually, Ron Kirby is seen as a threat with their conformist ways, his penetration into Carey's life shows her another attainable, easier lifestyle, different from their own. However, just how her clique ganged through to her forced her to conceal the misunderstood dress with a big black coat, giving her brain down in pity. This emotion is outlined through the consumption of the casted shadows of dark blue that appeared to follow Carey in a consistent way.
This particular scene shed some light on Sirk's critique of this conformist culture through the red color, as it begins to appear in a heightened way. McCarthyism paved the best way to an evergrowing dear of the folks who are different and didn't follow the sociable norms put by 1950s America, like the communists in Soviet Russia (Doherty 215). However, this isn't to say that red, here, symbolizes communism, it only implies that like communism, it presents an alternative lifestyle and ideology different from that of the bourgeoisie. Furthermore, Ron's autonomic world is celebrated through that same lively color. It becomes more noticeable as the shadows that follow Ron while he's working have significantly more of a red hue as though they not only indicate his red top but his charismatic lifestyle. The emphasis is also actually placed on the colour, through the medium structure shots used by Sirk in which the red shirt occupies fifty percent of the display screen.
Moreover, the clambake get together managed by Ron's friends not only got the same conformity free vibe that Ron emits but also represented a huge comparison with the bourgeoisie ideology of conformity. On the Anderson's everything is improvised, the makeshift desk is manufactured out of solid wood planks and is covered by a vintage looking checkered tablecloth. The refreshments are spontaneous and improvised, like the furniture and the partygoers are of different time, job groupings and even do not partake in the same interests. It seems a little chaotic because little or nothing seems to be set in rock, or can be reliant on.
The question that comes at play is whether these ideologies shown are in reality understood. Bourdieu points out that the socio-cultural track record of the audience takes on a sizable part in the way elements in multimedia texts such as motion pictures are comprehended (Blewit 367). The ethnic capital sent from a parent to their child defines the sort of cultural competences that would therefore either allow or limit the understanding of such factor.
In conclusion, it seems that ALL THOSE THINGS Heaven Allows by Douglas Sirk explores the ideology of not only gender assignments but also conformity occur the 1950s in the us. It uses the melodramatic genre as a means of concealing the critique buried deep within the mise en field of the movie. In this way, Sirk was permitted to pick apart the various functions of gender tasks and conformity and show their failures.