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Vision, Representation and Cinema
Discuss the representation of the province in Nuri Bilge Ceylas' Clouds of May in relation to modernity.
The film Clouds of May depicts a clash of two worlds: a more traditional world, and the world of modernity. The film reveals the tensions between the old and the new, and also the real and the unreal. It depicts the attempts of an urban filmmaker named Muzaffer to create a movie about his experiences growing up in the provinces. He goes back to his old town to recruit 'real' actors and get a feel for the 'real' life he wants to play on screen. Although when he was actually living in a backwater he despised it, with an artist's perspective he wishes to create 'high art' from the provincial, a common response of the estranged, urbanized artist.
Modernity has often been characterized by the tension it exhibits between the pastoral and the urban, between the natural and the unnatural. In the viewer...
But the production of that natural life is highly constructed and engineered. The tenor of the film can be called 'postmodern' to some degree, as it is as much about Muzaffer's perspective on his past life as it is upon what is 'real.'
The disruption of the filmmaker's perspective introduced into the province, changes the small town -- when something is translated into art, it is irrevocably altered. For example, when Muzaffer arrives in the town, he hires a factory worker to help him get to know the locals. Having failed his university exam, Saffet is unhappy with the life Muzaffer is seeking to idealize. Just as Muzaffer seeks to create a 'real' fictional portrait of his former home, Saffet creates a fantasy based on the movies. Only Saffet's dream is of the future, not the past. He quits his job, hoping for a permanent position in films.
The characters seem not…
Vision, Representation and Cinema Jean-Luc Godard's My Life to Live: Neo-modernist film language My Life to Live tells the story of Nana, who leaves her hopelessly bourgeois husband and infant son with the vague hopes of becoming an actress. Nana seems less to aspire to be in the movies than to make her life into a movie, however. She is bored with her suburban life and entranced with all of the garish
The outcome of all of this was a rock concert which -- aside from the actual happenstance of performances -- was heavily controlled by the interest of the filmmaker. Though various aspects of the concert-attendance experience indicate that great care was paid to the appeal of the event itself, there is an explicit self-consciousness on the part of the subject as to the grander intention of the captured film
Mis) representations of African-Americans in film: From the Birth of a Nation onward Recently, the Academy of Motion Pictures awarded 12 Years a Slave the title of Best Picture of the year. However, it is important to remember that the development of American cinema, racism, and the perpetuation of African-American stereotypes in film has a long and ignoble history. In the essay "The Good Lynching and Birth of a Nation: Discourses
(Baudry, the Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema 707). Baudry explains that in reality, the spectator is actually convinced to assume this due to the effective application of the cinematic apparatus, thus enforcing a standardized spectatorial basis. Furthermore, Baudry later also mentioned that the cinematic apparatus and its ideological connotations created focus upon the ability of the cinema to symbolize the psychic desire of the
Dara Birnbaum's Technology/Transformation: Wonder Woman is meant to discuss gender roles from society's perspective. The Wonder Woman character in the film constantly changes from a secretary into a super hero and has audiences concentrate on a few particular issues. Birnbaum emphasizes the fact that television is meant to trick people in ignoring several otherwise obvious things. Instead of focusing on the matters that they usually considered when seeing Wonder Woman-related
Counter Cinema Rejecting Ideological Indoctrination: Two or Three Things I Know About Her and Born in Flames as Forms of Counter Cinema Jean Baudry in his analysis of narrative cinema argues that film ideologically indoctrinates the viewer. In his essay "Ideological Effects of the Basic Cinematographic Apparatus" he asks whether instruments (the technical base) produce specific ideological effects, and are these effects themselves determined by the dominant ideology? He continues, that in