Coursework 4 - Implicit and Explicit Ideologies In Film

Ideologies are presented through film as a way of projecting a comprehensive vision of the world. "This includes every stage in the process of production: subjects, styles, forms, meaning, narrative traditions; all underline the general ideological discourse." (Comolli. 1969 p.25). What is said in cinema goes a long way in the construction of the way we view ourselves, as part of society and in our own culture. The ideologies expressed in films have the ability to push the boundaries of our existing social conformities, which can often transform our perception of pre-existing social, cultural and political normality's. It is therefore, "difficult to accept that something as essential to our sense of ourself is culturally constructed." (Turner. 1988 p.171)

Natural Born Killers - HD Trailer

Natural Born Killers (1994) is a film that expresses its own ideological values both explicitly and implicitly through it’s own unique contextual ideological methods. The movie follows the journey of two serial mass murderers, Mickey (Woody Harrelson) and Mallory Knox (Juliette Lewis) on their relentless killing spree across America. The message of the film seems to convey the media’s (or Hollywood’s) obsession with violence in a celebrity-obsessed world. Upon its release the film was actually dubbed the 8^th most controversial movie of all time. (movieguide)

Oliver Stones unique multi format approach carries the weight of the ideologies expressed throughout the film. The mix of media platforms including: black and white, animation and talk show formats, visually reflect the extent to which the media has engulfed our society. In addition, “the ideology becomes subordinated and corroded by the films cinematic framework” (Narboni 2004. p. 22). As a result, the film itself develops into a satire for the sensationalist 1990s media, which makes serial killers into celebrities. Preciously why the ideologies in the film can be considered both Implicit and explicit, as on the one hand, the film literally portrays its message through the visual image. Yet on the other, it could also be interpreted as a product of its own debate. Implicitly suggesting, that the message behind the film is less concerned with the graphic violence featured throughout, and more in reference to the public’s fascination with this carnage, recycling its own message.

Groundhog Day - HD Trailer

GroundhogDay (1993) is film that supports the dominant ideology in film. Counter to the implicit references expressed in Natural Born Killers, Groundhog Day, uses a much more explicit ideological approach.

The film follows the journey of BillMurray, a contemptuous weatherman who – despite his reluctance – is made to report on local ritual, dubbed Groundhog Day, in a remote snowy town in Pennsylvania. As the film progresses Phil Conners (Murray) finds that he is forced to continually re-live the same day of his life until he learns to become a better human being. As Murray repeatedly re-lives the worst day of his life, he faces his own self regret, battles with his own mortality, finds love in the most unexpected of places and eventually, once he has learned to appreciate the subtleties of life, gets a second chance to live the rest of his days as a happy man.

Furthermore, the textual ideological message is explicitly present throughout the entirety of the film. We’re drawn to the inevitable conclusion, whereby the dominant ideology takes over no matter what. Despite it’s comical subject matter, the films focus draws emphasis upon the morality of mankind.

References:

Comolli, J.L. and Narboni, J., 1968. Film Theory and Criticism. 6th ed. Oxford: Oxford University Press. 

IMDb, 2013. Natural Born Killers. [Online]. IMDb. Available from: http://www.imdb.com/title/tt0110632/?ref_=fn_al_tt_1. [Accessed 11 April 2013]

IMDb, 2013. Groundhog Day. [Online]. IMDb. Available from: ://www.imdb.com/title/tt0107048/?ref_=sr_1 [Accessed 11 April 2013]

MovieGuide. [Online]. Available from: http://movies.amctv.com/movie-guide/the-100-most-controversial-movies-of-all-time.php [Accessed 11 April 2013]

Narboni, J., 2004. Film theory and Critisim: Indroductory Readings. New York. Oxford University press

Turner, G. 1988. Film as social Practice: London. Routledge.