Post Six

Can Adorno’s theories of mass culture be applied to today’s cinematic experience?

 

In post modern Britain, going to the cinema is considered an entertaining pastime in which people unite to escape the hardships of everyday life.  The cinematic experience can evoke a sense of fulfilment which can be experience by families, couples, friends and individuals. In order to ensure enjoyment, consumers are able to choose a genre of film which is instantaneously recognisable by the aesthetics of the advertisement or by the director. People tend to choose which film they would like to view depending on the emotion they wish to provoke. The idea that every film has a pre-meditated outcome is considered by Theodor W. Adorno as standardisation and the result of the culture industry. Theodor W. Adorno was part of the Frankfurt school which concerned itself with the development of critical Marxist theories that criticise the culture industry and oppose capitalism. Adorno and Max Horkheimer were key theorists within the Frankfurt school and discussed, in great lengths, the effects of the culture industry or as they entitled it, “Enlightenment as Mass Deception.”(Redmond and Holmes: 2007, p.34) They were particularly critical of the industrial revolution and believed that the promise of enlightenment concerning science and human freedom had in fact abolished human freedom in return for standardisation. Adorno was particularly concerned with how people are subjugated by popular culture and he began condemning standardisation in the first half of the 20^th century stating that when things are standardised, so too are the people that engage with them and their ability to criticise those who control them. Adorno explains that “Cultural forms like popular music can function to secure the continuing economic, political and ideological domination of capital.” (Strinati, 1995, p.5)

Adorno had a great deal of criticism for the culture industry in the 20^th century and much of what he states can still be applied today. He criticised elements of popular culture such as music and art claiming that “exchange value deceptively takes over the functions of use value” (1995, p58) He further explains that any indication of a pre-capitalist society has now been eradicated. It could be suggested that the film industry today adopts a capitalist ideology which has significantly decreased the opportunities for independent film makers. If addressing the film industry as a capitalist society, then Hollywood would be the political leader: the dictator. This idea of control is divulged from Adorno’s theories which state that the standardisation of products is not just for profit but mass control. He states that,

“It shapes the tastes and preferences of the masses, thereby moulding their consciousness by inoculating their desire for false needs. It therefore works to exclude real or true needs, alternative and radical concepts of theories, and politically oppositional ways of thinking and acting.” (1995, p.61)

Adorno’s theory can be applied to consumer culture and the constant ‘need for stuff’ but more specifically to the overall cinematic experience. The control surrounding the culture industry is one that has taken many decades to produce and has resulted with leisure time being controlled and regulated by the capitalist ideology. No one questions these manufactured leisure activities because no one is able to recall pleasure without the assistance of the consumer industry. Adorno explains that as long as people truly believe they have freedom, then they will not rebel from this democratically masked, capitalist society. Films are standardised and follow a set criteria, such as the genre of horror films, but there is a sense of individuality each product which “serves to obscure the standardisation and manipulation of consciousness practised by the culture industry.” (1995, p.63) For a modern example, the series of Saw films and the recent Paranormal Activity (2010) may appear completely different but Adorno would argue that this is part of the illusion of standardisation and that the objectives of the films are the same. Not only are the films standardised but so are the audience reactions that accompany them. The audience have become unconsciously aware of the generic film pattern and are trained to laugh, cry and scream at the appropriate moments, or to cite Adorno “the product prescribes every reaction.” (2007, p.35) When recalling the cinematic experience, the theory that every reaction is premeditated does ring true, it could be suggested that the genre of film chosen determines the response.  

Adorno states that within the culture industry there is a tendency for entertainment to adopt pure nonsense. He uses examples of novelty songs, spoof thriller movies and cartoons claiming that within the culture industry “any logical connection calling for mental effort is painstakingly avoided.” (2007, p.35)  Again he relates this back to the idea of capitalist control, a political ideology condemned by Marxism, claiming that people believe they have a variety of choice in life and thus, by choosing a premeditated path, will reach contentment. However Adorno greatly argues this illusion and those who accept it: “To ignore the nature of the culture industry...is to succumb to its ideology.” (1995, p.63) Adorno claims that the standardisation or ‘dimming’ down of society is reflected in American films which argue that they have to consider the fragile minds of eleven year olds. Adorno retaliates to this lie stating that, “they would very much like to make adults into eleven year olds.” (1995, p.64)  The entire cinematic experience can relate to Adorno’s views on standardisation. When considering the cinema chains like ‘Vue’ and ‘Cineworld’ standardisation is particularly prevalent. Each of their buildings looks similar and therefore their function is instantly recognisable. People automatically queue to purchase tickets and food, graciously making their way to their assigned seats. Whilst in the cinema people robotically adhere to the etiquette and if disruptive will soon be told, by other consumers, to keep quiet. When the film concludes the consumers file out in an orderly fashion. This could be seen as the ‘British’ way but Adorno would argue that this is the resulting control produced by adhering to decades of standardisation.       

His theories may have been written 50 years ago but his thoughts and views were greatly ahead of their time. Today’s cinematic experience shows a number of parallels with Adorno’s version of the culture industry, in particular Adorno’s overall theme of deception. Deception and today’s consumer industry work as a collaborative team which seeks to break down consumer confidence in return for profit. The consumer industry produce a need that has to be remedied, but will never be truly satisfied. As Adorno would argue, “the culture industry perpetually cheats of what it perpetually promises.” (2007, p.37) Perhaps Adorno would agree that standardisation now consumes everything to the extent that people have disregarded distant memories of democracy. Standardisation acts a blanket of deception to control people wanting more. It could be suggested that people are not standardised but evidently they are. There are genres of people, like films, each with slight individualities which in turn, conveys the illusion of individualism. This deception encompasses every area of consumer life to such an extent that no-one believes that they are being deceived.

Adorno’s theories of standardisation have received a lot of criticism, with theorists such as Gendron claiming he has taken “his claims about standardisation too far.” (1995, p.70) However, perhaps Adorno’s theories have remained just theories because publicly admitting that political regime was far from democratic would result in anarchy. Adorno explains that no-one is able to completely avoid the effects of standardisation.

“To sell this mass consuming public, the bland and standardised formulas of mass culture are developed because they can be made to appeal to everyone since everyone, every atonomised person, is open to manipulation. (1995, p.12)

It could also be suggested that Adorno would view censorship as another form of standardisation, of control. When films are given a rating they are dictating who is allowed to view the film, filtering out a percentage of the population. It should be considered ironic that a child of 16 is allowed to marry and reproduce yet is unable to choose which film he/she would like to see. There are elements of Adorno’s theories that are highly agreeable and applicable but he does appear to be somewhat nostalgic in his thinking. Without a doubt, Adorno would argue that Britain today appears to be under a democracy, but when examined it is a democracy full of options not freedom.

Word Count: 1405

References

Redmond, S. & Holmes, S., 2007. Stardom and Celebrity: A reader. London. Sage.

Strinati, D., 1995. An introduction to theories of popular culture. London. Routledge.

Bibliography

Berstein, J., 1991. The culture industry: selected essays on mass culture: Theodor W. Adorno. London. Routledge.

Hullot-Kentor, R., 1997. Aesthetic Theory: Theodor W. Adorno. Minneapolis. University of Minnesota.

Redmond, S. & Holmes, S., 2007. Stardom and Celebrity: A reader. London. Sage.

Sassatelli, R., 2007. Consumer Culture: History, Theory and Politics. London. Sage.

Strinati, D., 1995. An introduction to theories of popular culture. London. Routledge.

Online resources

http://www.ejumpcut.org/archive/onlinessays/JC20folder/AdornoMassCult.html [Accessed 26.02.2011)

http://www.cultsock.org/index.php?page=media/efterms.html [Accessed 27.02.2011)

Post Five- Film Review

Black Swan

 

In his thrilling psychodrama, Black Swan, Darren Aronofsky successfully blackens the idyllic preconceptions of ballet in his modern day film noir. Nominee of 14 awards and winner of 3 including best director and best film, Black Swan provides an intriguing opening to the 2010 Venice Film Festival.

The film centres on Nina, a beautiful anxious ballet dancer played by Natalie Portman. She strives for perfection but in doing so has become susceptible to mental illness which is heightened further by her controlling and equally fragile mother who relentlessly reminds Nina of the ballet career she herself abandoned to become a mother. The casting director, played by Vincent Cassel, is looking for a new swan queen to replace the ageing and tremendously bitter, Beth MacIntyre played by Winona Ryder. In order to dance her dream part, swan queen in Tchaikovsky's Swan Lake she is required to embody both the black and the white swan. Figuratively and visually, she is already the white swan with her porcelain skin and apprehensive nature but she needs to develop an alter ego that embraces the corrupt nature of the black swan. In cinematic terms, she needs to become the princess and the femme fatale. Lily, played by Mila Kunis, embodies everything Nina requires to become the black swan. She is late, inaccurate, bolshie and overtly sexual; everything Nina is not. In her quest to find her inner ‘black swan’ she labels Kunis a threat after she is told to admire her ability to ‘let herself go’ and develops severe paranoia that she too will be pushed out, like the queen before her.

Nina leads a sheltered virginal life which is emphasised further through the pink and fluffy aesthetics in her juvenile bedroom. After her formal announcement as Swan Queen, Cassel urges Nina to go home and ‘touch herself’ in an attempt to find her inner sexuality and passion. Lily is determined to befriend Nina and loosen her sexual inhibitions but it is unclear whether their friendship is genuine or whether Lily has an alter motive. This confusion is amplified by the extreme nature of Nina’s paranoia. Nina develops a small rash on her shoulder which worsens with the regression of her madness.  As Nina’s condition deteriorates, Aronofsky superimposes Nina’s face on other bodies for a split second, emphasising her fragile mental health. Nina also experiences vivid hallucinations including self harming, sexual encounters and murder. Black Swan addresses universal fears and amplifies them with an appropriately perverse soundtrack. Playing on a woman’s breakdown, Nina alienates herself from all she knows in order to embrace her own black swan, using sex, drugs and alcohol to assist her. She becomes a woman of no remorse, ensuring no one stands in the way of her dream, especially not her mother. She begins to feel increasingly unsafe, even in her own home where she feels the need to barricade her bedroom door. 

Aronofsky creates an unusual but fitting film, combining the delights of high cultured ballet with the erotica, illness, drugs and death. Nina’s disease makes it increasingly difficult to decipher between her reality and her illness which adds to the fantastical and bizarre plot of the film. Aronofsky concerned himself with portraying Nina’s deterioration and appeared to be particularly fond of mirrors which symbolise confusion and split personalities. Aronofsky’s previous film, The Wrestler (2008) has similarities to Black Swan in that by striving for professional perfection they ultimately sacrificed their own happiness. Portman delivers an admirable performance, at last exhibiting her true ability in this dark and thrilling production. For her role as Nina she was duly nominated for 17 awards and became the deserving winner of 9 including a BAFTA and a Golden Globe for best actress.

Verdict

Black Swan is a provocative, hedonistic experience and perhaps not for everyone. In order to appreciate the erratic nature of the film, logical thought needs to be cast aside to make space for this exhilarating and often frightening psychological ride.

Task 4- Ideologies and film

In general terms, an ideology is defined as “The influential underlying social and political beliefs of a society or social group.” (2005, p.498)  Examples of ideologies could include religion and political views such as Marxist or capitalist which enable people to understand how the world has progressed to its current state and how it is going to progress. Ideologies are present in every film through either dominant expression or implication; Explicit and implicit. To explain these definitions further, most films contain implicit ideologies which accept and embrace set beliefs which are not acknowledged or identified within the film.  On the other hand, explicit ideologies make bold, unavoidable statements, quite often about the corruption of current ideologies.

Pretty Woman (1990) is a perfect example of a film with various implicit ideologies. The plot of the film involves a young prostitute who is hired for the night by a very wealthy business man who later offers to pay her for a week long stay. He overwhelms her with money for clothes which enables her to dine at the best restaurants and ultimately provides her with class. They both live happily ever after. Pretty Woman is based upon the typically American work ethic that ‘if you work hard enough, you’ll get there’ and also further portrays America as ‘The land of dreams.’ Both of these ideologies are apparent within the plot; Vivian (Julia Roberts) works hard and receives her rewards of man and money. It could also be argued that the film exudes chauvinistic, sexist qualities with Vivian in debt from working the streets and requiring a powerful rich man to improve her quality of life. Capitalist ideologies can also be found throughout the film as well as a great emphasis on money. Except for Vivian, the rich become richer, and the poor remain poor which generates the concept of hope that perhaps a ‘Vivian’ situation could arise in reality. 

Contrary to Pretty Woman, Sicko (2007) directed by Michael Moore explicitly destroys the idea of the American dream. Through documentary film, Moore criticises every area of the American health care system, or lack of it. He presents numerous examples of people who have continually been let down by their health insurance which, for many, resulted in death. The American government have consistently condemned the idea of a National Health Service arguing that the people should not be put under a dictatorship and that they have the right to decide what treatments they wish to use. Moore presents evidence that portrays that if a National Health Service was put in place it would hugely reduce revenue for the government but improve American’s quality of life. Moore criticises nearly all America stands for, conveying the country as a capitalist, dishonest, money obsessed farce. His extensive research is apparent as he gives the exact figures that eventually bought Hilary Clintons silence as she battled for a national health service. His tone is sarcastic and mocking towards American ideologies as he questions why people consider America a great country. To amplify his mocking tone, there is inspiring background music, the type that would be associated with a political speech or the national anthem.    

 

Pretty Woman idolises the American culture, portraying it as a land where dreams come true. Sicko, on the other hand destroys and condemns American ideologies, portraying it as a culture which prioritises profit over American lives.  

Task Three- Films that conform or subvert to Hollywood mainstream standards

The general objective behind a Hollywood mainstream film is to generate money, after all Hollywood is a successful business. In order to make a substantial profit the films must conform strictly to the standards followed by every other Hollywood film. Films that do not comply with Hollywood’s dictatorship are known as counter cinema films and these films do not wish to conform to the standardized Hollywood practice. 

Andrea Arnold wrote and directed her first film Red Road in 2006 which won her a BAFTA for best newcomer in 2007. The main character works as a CCTV operator in Glasgow and develops compassion and care for those she sees everyday through the cameras. The film centres on revenge and obsession and is often filmed through the CCTV cameras, ensuring the audience are kept at a distance. The DVD cover for Red Road reveals very little about the films genre, a classic characteristic amongst counter cinema films. Unlike a conventional Hollywood film, the relationship between the two main characters is initially unclear, she stalks and eventually sleeps with him so she can frame him for rape because he killed her daughter and husband and she wants him returned to jail. The main character, Kate Dickie, has harsh, stern facial features which discourages the audience to engage with her character. Red Road is a documentary style film re-enacting real life scenarios in the harsh light of Glasgow’s Red Road tower blocks.

Red Road does not desire sympathy nor does it try to engage with the audience, the audience are not transported to a fantasy world: they are brought into a grim reality. Although the main characters occupation involves spying on strangers every day, the audience are made to feel like the voyeurs.  The film would not be considered pleasurable but instead interesting; watching this through the eyes of a voyeur can engage voyeuristic characteristics which encourage curiosity to find out what happens. It is also useful to note that Red Road did not concern itself with money, unlike every Hollywood film. The characters were introduced with very little and concluded with just the same.

Unlike Red Road, Pretty Woman (1990) directed by Garry Marshall and starring Richard Gere and Julia Roberts is the typical sexist, materialistic, high budget Hollywood film that many people confess to adore. Myself included. This film embodies everything that is considered Hollywood; the hope, the damsel, the hero and the money. The female is portrayed as weak and helpless; a common portrayal within Hollywood films. She is assisted by her hero (Richard Gere) who takes her shopping immediately and as the film continues, they fall in love. Pretty Woman is logical and predictable with the audience immediately feeling attached and connected to Vivian Ward (Julia Roberts) and her life. An escapist production, the film allows the audience to empathise with Vivian and her warm, if not slightly simple, nature.  Ironically, despite the women within the film appearing simple, dependent and futile without a man in their lives, the films fan base primarily consists of women. From the trailer, the DVD cover and the title, the film is instantly recognised as a romance. The film concludes with a happy generic ending, the prostitute and the lawyer living happily ever after and the audience suitable satisfied.

Hollywood films continue to sell and generate substantial revenue. To display the extent of this, since its release in 2006 Red Road has generated $1,128,345 worldwide. Pretty Woman has generated $465,406,268 worldwide.

 

http://www.imdb.com/title/tt0471030/

http://www.film4.com/reviews/2006/red-road

http://www.guardian.co.uk/film/2006/oct/27/thriller

http://www.guardian.co.uk/film/2006/oct/18/londonfilmfestival2006.londonfilmfestival1

http://worldfilm.about.com/od/britishfilms/fr/redroad.htm

http://boxofficemojo.com/movies/?id=redroad.htm

http://boxofficemojo.com/movies/?id=prettywoman.htm

All accessed 02/03/2011

Post Two- Tim Burton the Auteur

A pioneer in the art of gothic romanticism, Tim Burton could easily be considered for the title of auteur. Burton’s films are instantly recognisable with his distinguishable dark style and familiar themes. Using his favourable technique of stop motion, Burton has a way of bringing dreams to life through the use of his untamed imagination. Burton began his career as an animator and in 1976 won a scholarship for the California Institute of the Arts, a college founded by Walt Disney.  He worked as an animator on the children’s animation The Fox and the Hound (1981) but his real passion was for the dark and beautiful misfits of society, and this charming fox was not one of them. Voicing his dislike for creating the generic Hollywood characters, he was soon given more freedom and from there his yearning for the weird and wonderful flourished. One particular theme that continues through Burtons films is the concept that the main character is a misfit within society. Burton develops this characters appearance, body language, speech and skills to create the impression of someone who is ostracised from society. A perfect example of this is Burtons original misfit ‘Edward Scissorhands’, released in 1990 and portraying a man with hands made out of scissors and shears who experiences extreme social isolation because of his disability which leaves him ostracised from society.  

Burton’s forte and great passion lies in the art of creating stop motion films.

 “There is something about stop-motion that gives it an energy that you don’t’ get in any other form.”                                                                                                                     

 http://minadream.com/timburton/Animation.htm
[Accessed 01/03/2011]

In 1993 Burton brought stop motion back to the forefront of the cinema with ‘The nightmare before Christmas.’  The film was based on a poem Burton had written in the 1980’s but had been to pre-occupied to take the poem further until 1993. Despite being written by Burton, the film was actually directed by Henry Selick.

 "If I had [directed it], I'd be dead before I ever saw the final version... the reason I originally got out of animation is because I didn't have the patience for it...”

http://www.filmsoftimburton.com/chapter3.html
[Accessed 28/02/2011]

This magical and enlightening film appeals to both children and adults by delivering an underlying message of how to be content in a tough world, again using Burton’s signature theme of a misfit character.  

Edward Scissorhands (1990) is considered to be Burton’s signature film embracing his common theme of a misfit character who appears strange and unapproachable but only wishes to be embraced. The storyline apparently reflects Burton’s feelings of isolation during his own upbringing in California where he must have considered himself the misfit of the community. It was this film that encouraged the professional relationship between Burton and Johnny Depp who have since worked together in six Hollywood films over two decades.  

 Please excuse the subtitles! 

Alice and Wonderland (2010) was Tim Burtons most recent film, an adaptation of the children’s story originating from the 1865 novel by Lewis Carroll. Yet another collaboration with Johnny Depp, the film tells the story of Alice returning to the wonderland she first visited in her childhood. The film itself is rich with colour, imagination and fantasy. The film also stars Helena Bonham Carter, who is another reoccurring actress and who is also personally involved with Burton.  The film was clearly greatly received being the second highest grossing film of 2010 and the sixth highest grossing film of all time.

References

http://filmsdefrance.com/FDF_gmelies.htmlv

http://www.filmsoftimburton.com/

http://www.earlycinema.com/pioneers/melies_bio.html

http://www.caseylamarca.com/auteur_theory_7.html

http://www.youtube.com/

All accessed 28/02/2011