Films are believed to reflect the fundamental beliefs of a society – ideologies (Phillips, 2005). There are dominant ideologies presented in mainstream movies and ideologies that question the ruling ideals observed in experimental films. The dominant ideologies refer to common and fundamental morals of everyday life such as a view that “hard work results in success” (2005: 368). One of the most popular definitions of ideology is that of Marxist philosopher Louis Althusser who in the 1960s interpreted the ideology as “imaginary misrecognition of the subject’s relation to [his or her] real conditions of existence” (in Pearson and Simpson, 2001: 346). Stamp (2000) claims that many film theorists believe that spectators are “locked into a structure of such misrecognition” and therefore they accept presented realities and identities that are shown to them in films (2000: 136).
Raymond Williams (in Stamp, 2000: 133) summarizes the term in three senses:
- System of beliefs characteristic of a particular class or group
- System of illusory beliefs – false ideas or false consciousness – which can be contrasted with true or scientific knowledge
- General process of meanings and ideas
Phillips (2005) writes that film viewers discuss a film and think about it after the viewing process. Thus, a movie expresses its ideologies to the audience mainly (Phillips: 2005):
- Implicitly (to show rather than explain – Contextual analysis)
- Explicitly (to explain rather than show – Textual analysis)
This post aims to propose three examples of films where ideologies are explicitly and/or implicitly conveyed.
ARGO (2012)
This American historical drama, directed by Ben Affleck, takes place in late 1970s revolutionary Iran when six Americans escape a U.S. embassy during an invasion by Iranian protestors (Dowd, BBC online 2013). The plot is based on a book written by Tony Mendez, who as a CIA agent was responsible for bringing the 6 escapees back to the U.S. The film received many awards (Brooks, The Guardian Online 2013; Kottoor, BBC News Online 2013).
The movie conveys two ideologies. The first belief, conveyed explicitly through the use of text and voiceover narration in the opening scenes, is about American aggressive foreign diplomacy and interventionism towards Iran in the second half of the Twentieth century. The second ideology, shown implicitly by means of the use of narrative (i.e. dehumanization of Iranians) and cinematic techniques (mise-en-scene of U.S. embassy and montage to demonstrate that the consulate is in a hurry to destroy secret documents that could be taken over after the intrusion), celebrates “American hero-worship” over the hostile Iranian “other” (Kaveh L. Afrasiabi, Middle East Online, 2012). Further, the film puts the Central Intelligence Agency (CIA) on show, depicting it as powerful, world saving, witty and modest. This portrayal is signified by the heroic acts of CIA agents and the agency itself which does everything to save their citizens from the brutal Islamic country. In fact, the film is a mix of historical events and fiction but it posits itself as the real and only representation of the happenings from 1979.
TINKER TAILOR SOLDIER SPY (2011)
This cold war thriller, directed by Tomas Alfredson, is based on the book with of the same name (IMDb). The plot is about the struggles of the British Secret Intelligence Service to keep the UK interests secure in the time of communistic threats from Soviet Union (Tinker-tailor-soldier-spy.com). One of the ideologies of the film; presented implicitly through the use of montage, editing, mise-en-scene and flashbacks; demonstrates that MI6 agents are lonely people whose lives are only concentrated around the agency and service. In the film, the viewers can see that Control (John Hurt), the head of the circus, is so obsessed about the possibility of a double agent in MI6 that he risks an agent’s life and as a result of the mission going wrong, is forced to retire. Depressed and anxious, he dies lonely in the hospital (commits suicide) unable to prove his concerns. Smiley (Gary Oldman), also a lonely man goes into semi-retirement after the incident in Hungary. His retirement is dull and there is nothing much to live for. His wife cheats on him with another agent before his retirement. The film depicts him as a shadow of himself who still wedges a piece of paper in his door to check if his house is not being spied on. Tom Hardy’s character (Ricki Tarr) falls in love during a mission and breaks the rules. He is expelled and put on a hit list. Ricki Tarr wants a normal life with his lover. He contributes to the exposition of the double agent but the love of his life is brutally killed by the enemy.
MADAGASCAR 3 (2012)
The DreamWorks third animated film, directed by Eric Darnell and Tom McGrath communicates the idea that animals love performing in front of people rather than being in the zoo or living as wildlife in Africa (Collin, The Telegraph Online 2012). This belief is communicated implicitly via various techniques and representations. In Africa, the animated animals are bored in the wild, in Europe they enjoy a new life in the circus whilst in America, the zoo does not seem as exciting a proposition as it used to be for the characters. The animated 3D movie is based on binary oppositions. It shows the advantages of animals living in the circus and the disadvantages of life in the wild and in the zoo. The film incorporates symbolism to communicate the ideology. For instance, more colourful and lively pictures are used when the main characters join the circus. The juxtaposition of colourful design with the main characters’ time in the circus creates positive associations towards the use of animals in circuses. This idea is also revealed in the explicit way when in the opening scene, Alex the lion says that he does not want himself and his friends to grow old in the deserted land of Africa. The character also expresses disapproving comments about the zoo he used to love.
SUMMARY
Each film contains ideologies which are mainly expressed through implicit messages (Colin Hughes, Washington University). These meanings allow the viewers to understand the whole picture in a less direct way. On the other hand, Western and patriotic films are examples of movies where ideologies are conveyed explicitly in order to “teach or persuade” (Colin Hughes, Washington University).
References
AFRASIABI, K.L., 2012. Hollywood Demonizes Iran Again. [online]. London, UK: Middle East Online. Available from: http://www.middle-east-online.com/english/?id=55086 [Accessed 9 April 2013].
BROOKS, X., 2013. Argo wins best picture despite no director nomination for Affleck. [online]. London, UK: The Guardian. Available from: http://www.guardian.co.uk/film/2013/feb/25/oscars-2013-argo-wins-best-picture [ Accessed 9 April 2013].
COLLIN, R., 2012. Madagascar 3: Europe’s Most Wanted, review. [online]. London, UK: The Telegraph. Available from: http://www.telegraph.co.uk/culture/film/filmreviews/9617340/Madagascar-3-Europes-Most-Wanted-review.html [Accessed 10 April 2013].
DOWD, V., 2013. Argo: The true story behind Ben Affleck’s Globe-winning. [online]. London, UK: BBC News. Available from: http://www.bbc.co.uk/news/entertainment-arts-21003432 [Accessed 9 April 2013].
HUGHES, C., Film and Ideology. [online]. Washington: Washington State University. Available from: http://public.wsu.edu/~hughesc/film_and_ideology.htm [ Accessed 9 April 2013].
KOTTOOR N., 2013. Tony Mendez, the real CIA spy in Argo. London, UK: BBC News. Available from: http://www.bbc.co.uk/news/magazine-21504409 [Accessed 9 April 2013].
PEARSON, E. R. and SIMPSON, P., eds., 2001. Critical Dictionary of Film and Television Theory. London: Routledge.
PHILLIPS, H.W., 2005. Film. An Introduction. 3rd ed. London: Palgrave Macmillan.
STAMP, R., 2004. Film Theory. An Introduction. Oxford, UK: Blackwell Publishing Ltd.
THE GUARDIAN, 2012. Argo Overview. [online]. London, UK: The Guardian. Available from: http://www.guardian.co.uk/film/movie/148728/argo [Accessed 9 April 2013].
TINKER-TAILOR-SOLDIER SPY, 2011. Synopsis and bios. Available from: http://www.tinker-tailor-soldier-spy.com/paralax.htm#research [Accessed 9 April 2013].
Cinema and Society 