Spectatorship: Essay

How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response?

(50 minutes; 40 marks; 11.6% of qualification)

Essay

Spectatorship regards the way viewers make sense of the images on screen and the relationship we have with the films we watch. Two models that identify whether a spectator is passive or active are the Hypodermic Syringe Model which depicts the audience as being passive to what is on screen and the Uses and Gratification Model which states that an audience will actively interpret the film in their own way. According to Stuart Halls’ reception theory, a film only has meaning when it is encoded by an audience but not all members of the audience will encode it in the same way, forming the idea that the same audience can be both passive and active at the same time which is often encouraged by the filmmakers through their use of specific techniques.

Beasts of the Southern Wild is a low budget, independent film financed by Cinereach and Court 13 outside the major Hollywood studios that found success largely through word of mouth. Zeitlin had previously directed short films such as Glory at Sea in 2008 but Beasts of the Southern Wild was the first feature length film he directed and just like his 2008 short film inspired by Hurricane Katrina, he was determined to deliver a message to the audience that focused on environmental issues and make aware the effects on poorer communities.

As an independent film, Beasts of the Southern Wild is more likely to use imagery to create meaning and effect for an audience as the smaller budget of the film results in it being more grounded in reality as elaborate shots couldn’t be utilised, allowing for an audience to empathise with Hushpuppy’s struggles as the camera is positioned from her perspective at eye level rather than other characters such as her more authoritative father. There is also a greater intention to challenge the audience, placing them in the role of an active spectator who according to the Uses and Gratifications Model, interprets the film in their own way and will actively use films for gaining information about the world. Spectators are encouraged to feel empathy for Hushpuppy which has an influence on the their specific interpretation of the film as according to Christopher Metz, identifying with a character on screen brings enjoyment for an audience as the surreal nature of the films, similar to the magical realism element in Beasts of the Southern Wild with the appearance of the aurochs, creates an impossible character for the majority of spectators to mirror and therefore an audience will immerse themselves in the characters world, in turn forming the spectator who actively responds to the harsh visceral imagery they witness on screen. This is most notable during the scene in which Wink is on the verge of death after the community has fled the support centre. In this moment both Hushpuppy and her father look at each other at the same eye level, using close-ups on Hushpuppy with her voiceover gives an insight into how she perceives the world, with spectators responding differently in how they empathise with her. Spectators such as the actor Dwight Henry who played Wink experienced the effects of Hurricane Katrina first hand and therefore would have been able to identify with Hushpuppy’s situation as they have experienced her situation for themselves and can sympathise with her struggles whereas spectators who watch the film as a more mainstream audience thanks to the attention it gained from its numerous awards, witness her struggles from an outsider perspective and empathise with what her reality is like without knowing it themselves.

When interpreting the key message of the film, the preferred reading by a majority of spectators will be based around the premise that climate change has a catastrophic effect on the lives of those living in much poorer communities but by sticking together as a community, these challenges they face can be overcome. However, some spectators might choose to interpret an oppositional reading of the film as they would see the refusal of the community to accept help as being damaging. The preferred reading aligns with Zeitlins indentions for the message of the film as he claims he feels “very strongly about environmental issues” and that he wanted “even people who don’t believe in global warming to watch it”. This resulted in the visual style of the film heavily reflecting the effects of climate change as seen in the editing in the film as in one scene where Wink appear to be having a heart attack, he falls to the ground as the sound of thunder can be heard in the background which is intercut with the image of a falling glacier which for most audiences would be interpreted as two life ending events mirroring each other and if support is provided for one then why not the other. This support that Wink and the community receives after the Bathtub is flooded and their homes destroyed comes in the form of governmental aid as they are taken to a relief centre to help rehabilitate the community. The preferred reading of the communities decision to run away from the support would have been one of encouragement from most spectators as they have witnessed the happiness of the community and the bond they have with each other, actively deciding that there decision to run away is the correct one whereas the oppositional reading by some spectators would have questioned why the community would forgo from support and choose to return to living in poverty, believing that by rejecting the support of the aid provided by government, the right to make criticisms against support provided has been given up. Both these interpretations from spectators might provoke a more negotiated reading of the film as some might choose to believe that the film represents that a sense of community is just as important as the support given by the government and other institutions and that while this could help contribute to the wellbeing of the community, the community’s decision to reject them stems from the belief they are better off without help and support should continued to be provided in case it is necessary in the future.

Some spectators might actively interpret the film to have a feminist reading due to Hushpuppy’s progression as a more authoritative character in the film from the beginning to the end. Despite the film being from her perspective, Hushpuppy’s role in the community in comparison to her father who instructs on how to behave and encourages her to toughen up, repeatedly telling her not to cry while he does the opposite of what he expects her to do such as drinking. Laura Mulvey proposed the idea of the ‘male gaze’ and that films are produced for men and have a patriarchal view of the world where women act passively and male characters are active protagonists. Wink identifies masculine qualities as being more useful than weaker feminine qualities in his daughter which would encourage this feminist reading of the film but some audiences would choose a more negotiated reading of the film as displaying elements of the patriarchy but Hushpuppy overcoming her fear of the aurochs empowers femininity, rather than an oppositional reading that Hushpuppy’s progression from a character that is controlled by her father to independence doesn’t contain feminist interpretation.

La La Land was produced by Summit and was therefore not an independent film, with a large budget of $30 million. Chazelle had previously directed the highly successful 2014 film Whiplash and La La Land shares in the films similar niche of jazz culture. The film shows the relationship between two characters, Seb and Mia whose personal dreams of success bring them together but ultimately tear them apart as Chazelle explores the culture surrounding Hollywood and music in contemporary society with the intention of entertaining its audience which creates passive spectators in accordance with the Hypodermic Syringe Model but also creates active spectators due to the interpretations of the couples relationship and the idea surrounding the American dream.

During the opening sequence of the film it is immediately established to be a musical as the song and dance on the freeway is reminiscent of the typical Hollywood musicals of the 1930s and 1940s. This musical nature of the film results in a majority spectatorship who engage with the film passively in line with the Uses and Gratifications Model as being for entertainment purposes as the audience can appreciate the choreography of the dancers in the ‘Another Day of Sun’ song as the camera travels around the singers, gliding in front of each one and matching their movements to create an almost dream-like sequence. Chazelle doesn’t aim to to create a film with explicit key messages other than the idea of jazz culture but by applying a psychoanalytical theory, audiences can interpret meaning from films that were unintended by the director by exploring the meaning that can be found in the film subtext. The use of filmmaking elements such as sound during the opening sequence of the film establishes the theme of sacrifices in order to achieve success as shown in the lyrics of the song: ‘chasing all the lights that shine, and when they let you down, you’ll get up off the ground’. When the singers return to their cars could be interpreted by some spectators as being symbolic of the aspirations of those in LA but who are frustrated as they struggle towards achieving their goals.

Extending from this interpretation, some spectators might interpret the theme of the American dream throughout the film and the idea that through the hard work in pursuing your dream you can achieve it as seen by the success of Mia in her acting career and Seb’s ambition to open up his own club being realised at the films climax. The films depiction of Mia and Seb’s relationship is also a romantic exploration of the transformative power of love that leaves viewers feeling emotionally uplifted by what they have seen. While this comforting notion might be the preferred reading of the film, an oppositional reading is present as some spectators would find that the relationship was completely unconvincing and that the idea of pursuing the American dream was glorified nonsense and would take no comfort from the film which leads to a more negotiated reading of the film that the spectator is moved by the characters dreams and relationship but doesn’t find it entirely convincing but will still leave the cinema feeling uplifted but not necessarily inspired or changed as a result of watching the film.

Where some spectators might choose to view the film as a celebration of reaching your dream regardless of gender or circumstance, a more oppositional and feminist interpretation of the film and specifically Mia pursuit in relation to Seb’s own pursuit of their dreams would take issue with the representation of gender politics, accusing the film of being a male fantasy about artistic integrity that Mia facilitates. Critics have stated that Mia is a passive character as her decisions are motivated by Seb as he encourages her to put on her show and attend the audition which helps launch her career while she also watches passively at Seb’s performances as he works to chase his own dream. Another view of the film could be that the film is actually shot from Mia’s perspective as expressed by Anna Leszkiewitz as it is initially Seb who seems to be the creative one while Mia recites movie dialogue, but argues her shift from audience to creator celebrates the experience of consuming art, taking inspirations and creating something new which makes her a star in her own right. Indeed, Chazelle does initially begin the film from Mia’s perspective and later shifts to Seb’s before the two first meet and although it is not explicitly shown that the film is from her perspective, an audience can infer this from the positioning of the audience from her perspective by using close-ups as she reacts to Seb and others while more wide shots are used frequently when Seb is performing as if she was a member of the audience like us, relating to the preferred reading of the film that anyone can achieve their dreams.

Both films demonstrate varying uses of filmmaking techniques such as visual cues in order to provoke a spectators response. Beasts of the Southern Wild has a clear message which Zeitlin attempts to get across to the audience, creating active spectators who actively interpret the films themes while La La Land doesn’t have such a strong message which Chazelle attempts to get across to the audience, thereby creating passive spectators but active spectators are still present as although it doesn’t challenge ideas, La La Land still opens up a variety of different opposing readings of the film.

Ideology: Essay

How valuable has ideological analysis been in developing your understanding of the themes of your chosen films?

(50 minutes; 40 marks; 11.6% of qualification)

Essay

Ideology is the beliefs of a large proportion of the population which makes up an integral part of the ideological framework of a culture and shapes attitude towards the world that might be different from other societies. There are several categories to these ideologies, one of which is neutral with the emphasis being on entertainment rather than reflecting on right and wrong while implicit ideology will show conflicting values between two characters which isn’t heavily dwelled on in comparison to more explicit representations of ideology that aim to teach or persuade an audience as proposed by theorist Cesare Zavattini who believed the camera allowed the filmmaker to capture the real world to share with audiences.

Beasts of the Southern Wild is a low budget, independent film financed by Cinereach and Court 13 outside the major Hollywood studios that found success largely through word of mouth. Zeitlin had previously directed short films such as Glory at Sea in 2008 but Beasts of the Southern Wild was the first feature length film he directed and just like his 2008 short film inspired by Hurricane Katrina, he was determined to deliver a message to the audience that focused on environmental issues and the effects on poorer communities.

As an independent film, Beasts of the Southern Wild strays from typical Hollywood conventions in order to create meaning and effect for an audience that doesn’t align with what an audience would typically expect. Indie films are less likely to follow a traditional narrative structure of Hollywood films while there is far greater openness for interpretation so that the audience can explore their own responses more freely, breaking the rules of film form. This is evident in the sense of realism created by using handheld shots and authentic locations which is later contrasted with magical realism which offers a sensory spectacle where the audience watches scenes not typical of Hollywood productions as some scene aren’t tied to the narrative but have an aesthetic beauty such as the twinkling lights in the Elysian Fields which creates meaning rather than propelling the narrative forward. David Bordwell describes independent cinema as ‘a genre with its own distinct conventions’ which is clear when considering character development as less likely to be archetypes such as the inhabitant of the Bathtub who share ideologies but are diverse in age and ethnicity.

Independent films often feature progressive gender representations as seen with Zeitlin’s explicit presentation of different interpretations throughout the film, specifically a feminist interpretation when considering the young girl, Hushpuppy. Wink believes strength is a masculine characteristic and Hushpuppy is encouraged to toughen up and be more like a man. He repeatedly tells her not to cry as it shows weakness while her clothing is purely practical and she rejects that she is dressed in a more feminine way when under government care as her discomfort is clear. This would lead an audience to believe that feminine traits are far weaker than masculine but this idea is subverted during the climax of the film when Hushpuppy faces down the beasts in front of her community, showing strength and courage as she stands her ground and opens feminist interpretation as it accurately depicts qualities that should be present in female characters as they are present in real life. Another interpretation opened up by the film is a Marxist interpretation as shown by the community of the Bathtub. Throughout the film it’s made apparent the community rejects the idea of American capitalist ideology which places importance on work and money and replaces it with an ideology based on everyone helping everyone else. When Hushpuppy and her father are given government aid after there home is flooded, they dismiss it, preferring to live life without a state as they distrust the authority, escaping from the hospital to return to their homes as a community even at the expense of care for Wink as he is suffering.

The ending of the film implements magical realism as she stands before the beasts and although her father is dying and her home is damaged, there remains a sense that all will return to how it was and they wont be forced to leave, with Hushpuppy taking up a new role in the community as a far stronger and independent girl. This however sacrifices the idea of the pain and suffering brought on by their poverty, instead romanticising it so that the Bathtub is made to feel beautiful for the people living there such as when the community drinks together therefore gives a false impression of the happiness of the poor and doesn’t show the harsh lives that people living in such desperate poverty are forced to endure, proving the audience with a false image of the hardship experienced everyday in places across America. Also, by romanticising the lives of the poor, the film fails to discuss the corruption present in society which leads to communities building up and needing to develop to survive, instead showing the poor rejecting help when in reality there is very little help available and it only comes after a major flooding incident, with the government being reactive rather than proactive in terms of their support for poverty stricken areas.

La La Land differs from Beasts of the Southern Wild as it had a large budget of $30 million and was produced by Summit, an extension of Lionsgate which acted as distributer. Chazelle previously directed the successful 2014 film Whiplash and La La Land shares the similar niche genre of jazz culture. The film still shows typical Hollywood themes such as a heterosexual relationship while being produced to entertain rather than convey a specific message unlike Zeitlin but the characters in the film display characteristics that might be considered to be out of the mainstream norm of the typical Hollywood output.

Although the film is mainstream, it does not necessarily conform to audience expectations as Seb, one of the main characters in the film, does not possess typical heroic traits of Hollywood films as when he is introduced 17 minutes into the film the audience have already been told about Mia and her ambitions as a film star and have there empathised her as she continues to fail her auditions. By the time Seb appears on screen the audience are immediately sided with her as his rude behavior on the highway at Mia shows that he is not a heroic character and that Mia is the stronger of the two characters.

Although the film is not strongly feminist, it strays from the typical Hollywood ideology of strong masculinity as opposed to weak femininity. Some critics however have criticised the gender representation of the film as an initial reading of the film gives an audience the impression that Mia is a passive character as the major decisions in her life such as writing her play and attending the audition that launches her career are motivated by Seb while also watching the apparently far more creative Seb in the audience at his performances. However, an opposing interpretation could be opened up that Mia is the main character in the film and that the film is actually shot from her perspective as expressed by Anna Leszkiewitz. Seb is initially shown to be the creative one while Mia is watches and instead recites movie dialogue in her auditions as more of an audience than a creator but by the end of the film, it is arguably Mia who achieves the most success out of them both and while she is positioned from an audience perspective, it is Mia who leads the narrative as the audience view the film from her perspective as she views Seb on several occasions such as when Seb first plays the piano at the restaurant, when he is playing at the party and during the final scene of the film when he has got his own club, empowering her as a lead female character as opposed to typical Hollywood macho ideology.

A major criticism of the film among critics is usually the lack of diversity within the film. Many have taken issue with the idea that the film is ‘escapist fun’ and that Seb is trying to save jazz which is a symbol of nostalgia embodied by musicians such as Charlie parker who died in 1955 and his successors who experimented with fusing funk and jazz together. The main issue is that Seb is attempting to return to the past which, while liberating for some groups such as white people, those of minority groups would not have been treated equally. The jazz idols for Seb were supporters of Civil Rights and the world that Seb wants to return to before jazz became political was a time in which Los Angeles was filled with racist ideology and the film elects to ignore this side of the city, especially issues concerning race with riots happening throughout the 20th century and up to the 1990’s. Also, the only prominent black character in the film, Keith, is shown to have sold out to commercialism while Seb is the one who attempts to keep jazz pure.

Both films present explicit ideologies in order to have varying effects on how an audience interprets the film. Beasts of the Southern Wild has a clear and obvious message regarding poverty and the environment that tackles these issues head on and far more explicitly than La La Land as being an indie film meant Zeitlin could explore deeper into key issues that might not have attracted mainstream audiences. La La Land can be interpreted as having a feminist ideology and while issues may be apparent in some of it’s ideology, it nonetheless presents key themes of race and gender to have an effect on the audience.

La La Land – Deep Dive

Key Elements of Film Form

Cinematography

• Song and dance scenes are shot in one take just like the Hollywood musicals of the 1930’s, 40’s and 50’s allowing for the audience to appreciate the choreography of the dancers – shot on soundstages for extended tracking and crane shots.
• Panning and tracking shots allow the camera to follow the action which creates the impression that it is one of the dancers which makes it more immersive and emotional for the audience
• Opening Sequence: Camera starts on open blue sky then travels along congested traffic – the camera glides in front of the singers as they get out their cars, then over the bonnets to join in with the other dancers, matching their movements, stopping and starting in rhythm to the music, the movement changing on the beat.
• Seb on Piano Sequence: Sharp dolly into Sebs boss’ face after the camera has been calmly moving around the restaurant as he plays the piano – when Mia walks towards him the audience expects a meet-cute typical of the romantic genre – the camera tracks behind her so we empathise with her anticipation but halts when Seb brushes past her, indicating the film doesn’t follow the typical romance we expect

Mise-en-scene

• Title of the film is the nickname for the films setting and a play on the the idiom for being lost in dreams which is a core theme. Production design reflects this using LA locations both gritty and romantic.
• Opening Sequence: Singers dancing and then returning to their cars could be seen as symbolic of their aspirations but that they are frustrated as they are stagnated towards achieving their goal
• Seb on Piano Sequence: Spotlight used to pick out the character and reflect the aspiration of being on the stage.

Editing

• The extended single takes are dreamlike to make the scenes more realistic and root the film in the desires and frustrations of the characters. This results in a fast cutting rate on the scenes that aren’t song and dance to create a sense of being trapped, so that the musical numbers are where tension is released.
• Opening Sequence: The dance scene is given the impression of being in one long take but there are cuts that are masked by the camera whip panning as vehicles made it impossible
• Seb on Piano Sequence: The scene uses jump cuts which differs from the floaty nature of the editing in the opening sequence but when he begins to play the piano the camera becomes a gliding presence similar to when dancing

Sound

• Opening Sequence: Diegetic use of music to hear what each driver is listening to before resting on the first singer and turning to non-diegetic – the lyrics establish the theme of sacrifices and celebrates the ambition of LA and foreshadows Seb and Mia’s relationship
• Seb on Piano sequence: The music Seb is instructed to play and what he wants to play show the conflict theme of the film between what is popular and staying true to one’s craft

Meaning and Response

Representations

• Represents artists who struggle to achieve their dreams while attempting to work the basics of everyday life such as jobs and relationships.

• Critics focused on representation of gender in the film, saying Mia was a passive character as Seb causes key plot events such as funding her play and attending the audition

• Lack of racial diversity was criticised was criticised – only speaking role is Keith who sells out to commercialism while Seb attempts to keep Jazz pure

Aesthetics

• Shot almost entirely on location which contributes to the idea of grounding the film in reality
• Unpretty locations such as the freeway and Mulholland Drive ground the film in reality while the use of colour in production design and lighting romanticises LA
• Combination of contemporary and vintage elements of set and location dressing shows a film caught between the past and present. All the cars are modern in the opening sequence except for Seb’s which is from the 1980’s
• Costume design uses colour to capture the vibrancy of a place where people come to pursue their dreams

Contexts

Historical

Some critics criticised that the film doesn’t discuss LA’s turbulent history, especially with issues concerning race with riots happening in the 1990’s and further back. These concerns are ignored by the film which Chazelle defended by pointing out that LA constantly erases its own past and the film reflects this.

Political

The films success at the box office and wards was seen as indicative of people’s desire for escapism after a period of upheaval in the US, UK and Europe.

Technological

2:55:1 Cinemascope ratio which is rarely used today a gives sense of of the vastness of LA.

Ideology

Critics of gender representation have suggested Mia is a passive character as her decision are motivated by Seb. Sebastian encourages her to put on her show and persuades her to attend the audition that launches her career while she also watches passively at Seb’s performances. However, it is Mia who achieves the most success at the end of the film and she leads the narrative as the audience see her perspective at the very beginning.

Representations race have been criticised and critical articles have taken issue with the idea the film is ‘escapist fun’ as a return to the past is liberating for some groups such as white people but not for others such as those of minority groups.

Critics have identified that the jazz that Seb is trying to save is a symbol of apolitical nostalgia which is embodied by Charlie Parker who died in 1955 with his successors such as Coltrane who experimented with fusing funk and jazz. They were also supporters of Civil Rights and the world Seb wants to return to before jazz became political is a time when LA was filled with racism.

The treatment of nostalgia could be seen as intelligent questioning as both characters achieve their dreams but while Seb does so by living in the past, Mia embraces the new. There an element of sadness in the final scenes and the idea that living in the past isn’t as easy as the nostalgia of the film suggests.

The notion of growing up and facing reality is a central theme of the film and the urgency of chasing your dream before you’ve grown up too much. The characters are torn between their dreams and the reality that at some point they will have to grow up in order to make a living.

Spectatorship

Some have criticised gender politics, accusing the film of being a male fantasy about artistic integrity that Mia facilitates. Another view is proposed that actually the film is shot from Mia’s perspective according to Anna Leszkiewitz as initially Seb seems to be the creative one while Mia recites movie dialogue, more audience than creator. Argues the film celebrates the audience as revels in the experience of consuming art and takes these inspirations and creates something new which makes her a star. Part of the excitement of the film experience for the audience is that we can make the same leap.

• The preferred reading is that the film is a romantic exploration of the transformative power of love and the American dream, and the spectator leaves the cinema emotionally uplifted

• A negotiated reading could be that the spectator is moved by characters achieving their dream but finds the relationship unconvincing

• An oppositional reading could be that a spectator finds Seb’s obsessions with jazz as regressive and self-indulgent rather than inspiring

Beasts Of The Southern Wild — Deep Dive

Institutional Context

• Low budget, financed outside of the six major Hollywood studios. Marketed largely through word of mouth, critical acclaim and audiences were generated by festival success and award wins

• Bob Rosen – Four criteria for an independent film: ‘risk taking in content and style’; ‘personal vision’; backed by ‘non-Hollywood financing’; and ‘the valuation of art over money’.

• It’s magic realism and the subject of the poor being derived after a disaster would have restricted the appeal to mainstream audiences and so shows risk taking by the filmmaker.

• The film started as a one-act play written by Zeitlin’s friend and only played on four screens in USA showing it’s a personal vision.

• Produced by Court 13 for $1.8 million and funded by the non-profit foundation Cinereach. Court 13 represents outsiders and the challenges that working outside the system brings. The film was a commercial success but profit was the primary motivation instead it was the desire to tell the story on the filmmaker and Court 13’s part.

• Can be considered ‘outsider art’ as it was created outside the boundaries of official culture.

• It’s an indie film as it challenges Hollywood conventions by exploring character over action and entertainment.

• The n.d.a states that independent companies constitute more than 70% of film production in the US.

• In 2012, independent box office takings amounted to $4.5 billion which was 41.7% of the total box office for that year. From 2000-2011 the average for indie films had been 35% so this rise was surprising given the recession in 2007 which would have made it difficult to gain funding in that climate.

• Zeitlin had directed short films such as Glory at Sea in 2008, inspired by Hurricane Katrina before he made Beasts of the Southern Wild. The 2008 film won numerous awards at award festivals which gave the film publicity and put Zeitlin on the map.

• Zeitlin was selected for the Sundance Institute Directors Lab Program which played a huge part in securing the film as audience. He was also eligible to apply for financial support. It received critical acclaim winning 74 awards which generated positive publicity and led to the film getting a much wider release at 318 screens at its peak. There was further success when it was nominated for four Oscars in 2013 which was announced on 10 January and the impact of this was that on the weekend of 18 January there was a a rise of over 2000% in takings from the previous weekend and was screened on 71 US screens compared to the four the weekend prior.

• It was distributed by Fox Searchlight pictures which gave the advantage of years of experience, significant resources and global reach. Its part of the 20th Century Fox Film. They then released the Blu-ray and DVD in the USA, taking over $11 million.

Social, cultural and political context

• The film focuses on the impact of natural disaster but Zeitlin states he didn’t intend for the film to be a political one ‘I feel very strongly about environmental issues but I wanted even people who don’t believe in global warming to sit down and watch it’.

• Hurricane Katrina – Hundred of thousands displaced from their homes, $100 billion damage, 1,800 killed, 80% of New Orleans submerged under 20 feet of water, people of colour/elderly/poor were disproportionately affected by destruction and loss of life

• Slow government response sparked protest and criticism. Some argue the slow response was due to the demographic of those affected by the storm, There are moments in Beasts of the Southern Wild that echo images from news coverage of the hurricane. the films values resonate in a world where social inequality continues to be a problem.

• Indie films are not as likely as mainstream productions to be genre films and less likely to follow a traditional narrative structure. The openness of interpretation is characteristic of independent films which generally encourage the audience to explore their own responses more freely.

• They are more likely to break the rules of film form and use filming techniques to create meaning.

• David Bordwell – ‘Art cinema itself is a genre, with its own distinct conventions’

• Its success is testament to the quality of the filmmaking and the fact that spectators can relate to some of the characters’ experiences.

• The sense of realism created by handheld camera, use of non-actors, authentic locations and sets may intensify the emotional response for the spectator. Conversely, the use of magic realism

• The film cheers the underdog as the audience are encouraged to share the joy of these characters surviving/ Nature vs Civilization

Cinematography –

• Predominantly filmed on 16mm film to give the shots a grainy quality that reflects the grittiness of the location. The visuals are kept grounded for realism.

• Principally shot using an Easyrig which provides movement of the body when a camera operator is walking around as opposed to the smooth Steadicam. This places the spectator in the action which creates immersion such as the firework scene where the camera runs through with the characters.

• The camera mirrors Hushpuppy’s responses and the prevalence of shots of her or her perspective encourages an audience to align themselves with her such as when Hushpuppy is with the animals in the opening scene.

• Close-ups and shallow depth of field focus attention on one character which encourages an audience to consider what a character may be thinking which foregrounds the psychology of the character which is common in independent films.

Mise-en-scene –

• Filming location was Isle de Jean in South Louisiana USA which is severely affected by land loss so conveys emergency authentically. BP oil spill just occurred while filming which contributed to the films theme of communities surviving disasters.

• Homes were constructed to reflect the lifestyles of the inhabitants of the bathtub.

• The beasts known as aurochs are extinct so less realistic but metaphorical aspect of the film. Zeitlin ‘the predator versus their prey, maybe a metaphor about the fearlessness in Louisiana as it tests them’. They are derived from magic realism but help the audience to engage with Hushpuppy as when facing them down she shows strength of character and fearlessness and by facing her fear she has developed.

Editing –

• The majority of shots included her or her point of view as it gave the film emotional tension as it was prom her perspective.

• Linear film which allows the audience to experience Wink’s death alongside Hushpuppy.

• Only one flashback in the film which is when Wink and her mother meet which gives it greater significance. Seeing him reminisce in a romanticised way reveals a more vulnerable side to his character as he is usually portrayed as being someone who lives in the moment.

Sound –

• Music plays a significant role in conveying the atmosphere and life in the Bathtub. The jazz-funeral culture defined the town as this music conveys the positive aspects of living in a vulnerable place at a challenging time and a sense of community and appreciating life is clear.

• Hushpuppy’s voice-overs helps convey her isolation throughout the film as well as giving insight into how she perceives the world.

• Cajun and folk music score co-written by Zeitlin and Dan Romer reflects the chaotic whirlwind of life in the Bathtub.

Performance –

• The film was cast with non-professional actors who could bring their own experiences to the film. Dwight Henry who played Wink was a local baker who experienced Hurricane Katrina and said ‘A lot of people refused to leave. We’re not just going to walk away… I understand a lot of what the people in that movie go through’.

• Wallis who plays Hushpuppy had not been trained to act and so her performance is naturalistic and compelling.

Aesthetics –

• The artistic choices made in the films look and music offers a sensory spectacle where the audience is taken to a world rarely seen in cinema. Some of the scene are not tied to the narrative but have aesthetic beauty such as the twinkling lights in the Elysian Fields scene which doesn’t propel the narrative forward.

• Independent films are more focused on character development and exploration so they are less likely to be archetypes or stereotypes. The inhabitants of the Bathtub share ideologies but are diverse in age, ethnicity.

Representation and Ideology

Age –

• Wink as the parent would be stereotypically expected to be wise and has authority in the community as a leader. Hushpuppy follows Wink’s directions. This is a key dynamic between the two and Wink teaches her how to survive as he realises he is dying such as in the fishing scene. She is shaped by his views and ideologies, repetition of ‘Daddy says’.

• Hushpuppy challenges stereotypes of children and girls being emotionally and physically vulnerable as she is relatively independent as shown by her voice overs and she is resilient and faces her fears in front of her community at the end of the film.

Gender –

• The film is set in 2012. Independent films often feature progressive gender representations.

• Wink believes strength is a masculine characteristic and Hushpuppy is encouraged to toughen up and be more like a man (he doesn’t want her to cry). Her clothing is practical and when she is later dressed up in a more feminine way later on in the hospital her discomfort is clear. When she faces down the beasts at the end of the film, it shows strength and courage and accurately depicts qualities that should be present in female characters as they are present in real life.

Ethnicity –

• The film representations of ethnicity edge towards stereotypes with the inhabitants of the Bathtub shown as poor and dirty. Hushpuppy plays with dirt and Wink drinks heavily. Wink is also aggressive and neglective of Hushpuppy at times as he walks off, leaving her on her own for a brief time.

• The film arguably represents a community where ethnicity is irrelevant and the characters face the same challenges regardless of their race.

Representation of the poor is romanticised despite the broken nature of the Bathtub as it’s made to feel beautiful for the people living there and therefore doesn’t show the harsh lives that these people living in such desperate poverty must endure and provides a false image for an audience of the hardship experienced everyday in areas such as these.

The ending of the film implements magical realism with the appearance of the beasts which sacrifices the idea of the pain and torment people suffer. Although her father is dying and her home even further damaged, there remains a sense that all will return to normal and they wont be forced to leave, with Hushpuppy taking a new role in the community, which seems far to unrealistic given the circumstances she is in. The idea that everything will go back to normal as being a happy thing gives a false impression of the happiness of the poor.

The film doesn’t discuss the corruption present in society which results in such communities being forced to develop to survive, instead showing the poor as rejecting help when in reality there is very little help available.

Spectatorship

As an audience we are encouraged to empathise specifically with Hushpuppy as we see what she sees at the same time that she does, so that we never have more knowledge than she does.

The small budget of the film meant elaborate shots couldn’t be used but this ground the film in realism and allows for an audience to empathise with Hushpuppy more.

La La Land (2016, Chazelle)

La La Land is the story of two people living in L.A. dreaming about the future they want. Sebastian, an aspiring jazz club owner and Mia, a striving actor are completely different people and yet come together because of their desire to do what they love.

This film has always been one of my favourites and I particularly love the cinematography. Chazelle’s use of colour to depict L.A. brings it to life and places the characters in their surroundings.

Personally, Chazelle writes as if drawing attention to the idea of failure before success, romanticising it in a way that allows for an audience to greater appreciate the journey and struggle of getting somewhere.

Beasts of the Southern Wild (2012, Zeitlin)

Beasts of the Southern Wild tells the story of a young girl, ‘Hushpuppy’, who searches for her mother as her father slowly dies in front of her. She must also learn to deal with her world crumbling around her, as the global warming destroys her home.

My initial impression of the film was that I liked it. It didn’t particularly blow me away so I was surprised it gained a Best Picture nomination. The film uses a lot of handheld shots which annoyed me at first but as the film progressed I found that it served the narrative better as it was bale to clearly show her chaotic lifestyle which would have been harder to do if still shots were used. I think that the film was flawed because as a viewer, it was difficult to understand the motivation behind any of the characters in the first act but it gave a unique interpretation of a changing world and gender.

I believe the film was trying to accentuate female gender role as the main character, a young girl who takes charge in the midst of her fathers illness demonstrates independence. I think the most obvious out of everything though was the impact of global warming, shown through melting ice caps that flood their homes and consequently release the wild beasts that she stands up to in the final act.

Ideology: An Introduction

Ideology is the beliefs and values of a large proportion of the population which is an integral part of the ideological framework of our culture and shapes their attitude towards the world which might not be in line with wider values of society.

The political mainstream develops a strong ideology for a set of people that becomes natural as they are the most common beliefs in that society.

Personal Ideologies – The outcome of an individual’s experiences and influences

Cultural Ideologies – Constructed by Institutional sources such as the law, education and media

Dominant Ideologies – Accepted by the majority as common sense such as freedom of speech and the right to vote

Structured Ideologies – Groups with distinct world views such as religious groups who have values which define a person’s way of thinking

It can be argued that that the media acts to communicate, consolidate and challenge ideological viewpoints and set the agenda for morals and beliefs.

In order to maximise profits, the media want to appeal to larger audiences and the best way to do this and avoid alienating people is to reflect their ideologies back at them. Where dominant values are reinforced people are reassured that their own values are common sense, hiding the fact that ideologies are based on belief systems rather than truths.

Identifying Ideologies: Media Language; Values of the Institution; Genre: Representation of something; Audience Expectations; Binary Opposition in Narrative.

Films may also be neutral as their main purpose is to entertain rather than to persuade an audience.

‘Theorists such as Cesare Zavattini and Siegfried Kracauer believed that cinema is photography but expanded; allowing the filmmaker to capture the real world around them to share with audiences.

Ideologies expose audiences to new beliefs. They challenge the audience to think about how they feel.

Virtually every movie presents us with ways of behaving–negative and positive– and therefore offers us an implied or explicit morality or ideology. Every film has a slant based on the director’s sense of right and wrong.

Categories of Ideology –

Neutral: Emphasis on action, pleasure and entertainment rather than reflecting heavily on right and wrong.

Implicit: There are conflicting values between two characters but these are not heavily dwelled upon, instead serving the interest of basic and accepted moral codes.

Explicit: Constructed to teach or persuade an audience.

Spectatorship: An Introduction

Regards the way viewers make sense of the images on screen and the relationship we have with the films we watch.

Consider:

• How the spectator has been conceived both as ‘passive’ and
  ‘active’ in the act of film viewing
• The possibility of preferred, negotiated, oppositional and aberrant ‘readings’ of film
• Reasons for the uniformity or diversity of response by different spectators
• How spectators’ responses are affected by social and cultural factors
• How the spectator is in dynamic interaction with film narrative and film features designed to generate response
• The analysis of narrative, visual, musical, performance, genre and auteur cues in relation to spectator response
• The impact of different viewing conditions on spectator response.

The Hypodermic Syringe Model – Audience as passive. The messages and meanings of the film are injected into the minds of the audience where they are accepted uncritically (assumes a film has only one meaning)

The Uses and Gratifications Model – Audience interpret the film in their own way. Audience will actively use films for a range of purposes including: entertainment, self-identification, social interaction, and ganing information about the world.

Stuart Hall’s reception theory: a film only has meaning when it is decoded by an audience and not all members of the audience will decode the meaning in the same way. Suggests that audiences will take on their own meanings from films, according to factors including their own pre-existing views on an issue and demographic factors such as age, gender, ethnicity, social class etc.

How do audiences relate to the characters on screen? Films may position us in relation to characters in a way that encourages us to see ourselves on screen. Films may constantly shift audience position, requiring us to actively identify with a range of characters at different times.

Viewing Context

Where we are. Who we are with. When do we watch the film. This can all have a significant effect on our response to a film.

Uses and Gratification Theory (Considers how an audience reacts)

Seeking Information – Not necessarily information required but satisfied the curiosity of the viewer

Sense of Personal Identity – Finding yourself and values. Learn from the people around us.

Personal Relationships – Responding to specific characters and the bonds we make with figures in the media

Integration and Social Interaction – Inciting conversation between people

Diversion – Passing the time

Passive Spectatorship –

Psychoanalytical Theory:

• Belief that cinema is the closest art form to dreaming and by looking beneath the surface of a film, meaning could be found in the films subtext.

• Christopher Metz said that identifying with a character on screen is what brings an enjoyment for an audience. The surreal nature of films and its reality creates an impossible character for an audience to exactly mirror so people immerse themselves in the world of the idealised self and therefore Metz believed the spectator was formed by the film.
• Criticisms/ assumes the film has only one possible response that manipulates the audience with fantasy pleasures. Fails to consider different responses from people of different gender, sexuality etc.

Feminist Theory:

• Laura Mulvey proposed the idea of the ‘male gaze’ that films are produced for men and have a patriarchal view of the world. Women act passively, sexually available whereas male characters are active protagonists.

• States that the male audience identifies with the strong male characters and feel as though they can own the passive female characters, reinforcing the “neurotic male sexual ego”.

• Criticisms/ she doesn’t look at films by female filmmakers with strong female characters or films that sexualise the male body.

Active Spectatorship –

Chandler (the gaze):

Spectators Gaze – Viewpoint of the camera

Intra-diegetic – When the characters look at each other

Extra-diegetic – When the characters look directly at the camera as if aware they are being watched

Camera’s Gaze – The film shows the tolls used to show the gaze which reminds an audience they are watching a film

Text-within-a text – The characters are watching a film and the audience watch it with them

Contemporary events may impact upon a spectator’s reading of the film