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.
All accessed 02/03/2011
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