Why are there so many dark themes in TV and movies? - bestwebdirectory.info
Politics and Film examines popular movies and television shows as indicators of social and political trends to explore the political culture of the United States. Modern cultural criticism gives rise to its own cultural artifacts, and the two fit The principal quality of quality TV has proven to be its ability to. I think that the movies and tv shows are way off (maybe high school used to be a slightly different dating culture; some have more flings & less relationships.
Recognize how movies reflect cultural attitudes, trends, and events. Indicate how movies influence culture. Movies Mirror Culture The relationship between movies and culture involves a complicated dynamic; while American movies certainly influence the mass culture that consumes them, they are also an integral part of that culture, a product of it, and therefore a reflection of prevailing concerns, attitudes, and beliefs.
In considering the relationship between film and culture, it is important to keep in mind that, while certain ideologies may be prevalent in a given era, not only is American culture as diverse as the populations that form it, but it is also constantly changing from one period to the next.
French films glow with confidence and culture. Ours should do the same
Mainstream films produced in the late s and into the s, for example, reflected the conservatism that dominated the sociopolitical arenas of the time. However, by the s, a reactionary youth culture began to emerge in opposition to the dominant institutions, and these antiestablishment views soon found their way onto the screen—a far cry from the attitudes most commonly represented only a few years earlier. Not only do Hollywood films reflect certain commonly held attitudes and beliefs about what it means to be American, but they also portray contemporary trends, issues, and events, serving as records of the eras in which they were produced.
Consider, for example, films about the September 11,terrorist attacks: These films grew out of a seminal event of the time, one that preoccupied the consciousness of Americans for years after it occurred. Birth of a Nation Indirector D. At the time, The Birth of a Nation was the longest feature film ever made, at almost 3 hours, and contained huge battle scenes that amazed and delighted audiences.
He also experimented with editing techniques such as close-ups, jump cuts, and parallel editing that helped make the film an artistic achievement. Additionally, the dominant political climate, largely a reaction against populist labor movements, was one of conservative elitism, eager to attribute social inequalities to natural human differences Darity.
While critics praised the film for its narrative complexity and epic scope, many others were outraged and even started riots at several screenings because of its highly controversial, openly racist attitudes, which glorified the Ku Klux Klan and blamed Southern Blacks for the destruction of the war Higham.
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At the time the nation was divided, and Jim Crow laws and segregation were enforced. Nonetheless, The Birth of a Nation was the highest grossing movie of its era.
However, after the United States was drawn into the war in Europe, the government enlisted Hollywood to help with the war effort, opening the federal Bureau of Motion Picture Affairs in Los Angeles. Bureau officials served in an advisory capacity on the production of war-related films, an effort with which the studios cooperated. As a result, films tended toward the patriotic and were produced to inspire feelings of pride and confidence in being American and to clearly establish that America and its allies were forces of good.
For instance, critically acclaimed Casablanca paints a picture of the ill effects of fascism, illustrates the values that heroes like Victor Laszlo hold, and depicts America as a place for refugees to find democracy and freedom Digital History.
These early World War II films were sometimes overtly propagandist, intended to influence American attitudes rather than present a genuine reflection of American sentiments toward the war. Robinson and the other adults in the film fail to understand the young, alienated hero, who eventually rebels against them.
This baby boomer generation came of age during the Korean and Vietnam wars. Not only did the youth culture express a cynicism toward the patriotic, prowar stance of their World War II—era elders, but they displayed a fierce resistance toward institutional authority in general, an antiestablishmentism epitomized in the hit film Bonnie and Clyde.
The wildly popular Easy Rider —containing drugs, sex, and violence—may owe a good deal of its initial success to liberalized audiences.
And in the same year, Midnight Cowboy, one of the first Hollywood films to receive an X rating in this case for its sexual contentwon three Academy Awards, including Best Picture Belton. However, by —in part because of the transition to talking pictures—renewed criticism and calls for censorship from conservative groups made it clear to the MPPDA that the loose system of self-regulation was not enough protection.
Hayswhich remained in place until However, many people in Hollywood resented its restrictiveness.
French films glow with confidence and culture. Ours should do the same | Film | The Guardian
Inthe MPAA adopted a ratings system to identify films in terms of potentially objectionable content. By providing officially designated categories for films that would not have passed Production Code standards of the past, the MPAA opened a way for films to deal openly with mature content.
The ratings system originally included four categories: The MPAA rating systems, with some modifications, is still in place today. Commercially, less restrictive ratings are generally more beneficial, particularly in the case of adult-themed films that have the potential to earn the most restrictive rating, the NC Some movie theaters will not screen a movie that is rated NC When filmmakers get a more restrictive rating than they were hoping for, they may resubmit the film for review after editing out objectionable scenes Dick, The New War Film: A spate of military and politically themed films emerged during the s as America recovered from defeat in Vietnam, while at the same time facing anxieties about the ongoing Cold War with the Soviet Union.
Fears about the possibility of nuclear war were very real during the s, and some film critics argue that these anxieties were reflected not only in overtly political films of the time but also in the popularity of horror films, like Halloween and Friday the 13th, which feature a mysterious and unkillable monster, and in the popularity of the fantastic in films like E.
Sometimes the influence is trivial, as in the case of fashion trends or figures of speech. After the release of Flashdance infor instance, torn T-shirts and leg warmers became hallmarks of the fashion of the s Pemberton-Sikes, However, sometimes the impact can be profound, leading to social or political reform, or the shaping of ideologies.
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And what about the audience? British audiences have been in the sway of American film so long and have absorbed so much of its manner and mythology that we may mistake them for our own. Certainly we don't question the obsessions with Marvel comic heroes and the living dead or the familiar sight of two or three characters setting off on a journey across America, satisfying American preoccupations with self-discovery and patriotic homage.
Nor do we balk at the childish ideas of redemption, or the upbeat endings that, like cheap gas and cold beer, Americans insist on. We take Hollywood's commercial tics and the drumbeat of American values for universal truths, or at least believe they are applicable to life in Britain, which they are not. French cinema has no innate superiority, other than its historic respect for character. French films are made for grown-ups and, because of the unabashed interest in their own society and their own stories, often have as much integrity as they do charm.
The French accept that cinema is more than entertainment, a revenue earner and an employment generator: That word appeared nowhere in a letter signed last week by 50 British actors appealing for the reprieve of the UK Film Councilwhich the government plans to close in There's a feeling that this New Labour quango consciously played up the business side while disparaging cultural aims as elitist.
A vast number of people depend on film and TV. In Oxford Economics estimated 95, jobs relied in some way on the business and 35, were directly employed. Will the BBC and Channel 4 take over commissioning? Or do we give it all to the BFI?
French filmmakers have no such worries. They get on with it, knowing that they have a finite French-speaking audience and little hope of penetrating the American market, the thing that obsesses film producers here.
Their budgets are built on realistic audience targets, and they have stories that bubble up from their society and demand to be told. But in one way, they do not restrict themselves.
There must be a lot of year-old actresses in Britain who envy the opportunities enjoyed by the French-speaking Scott Thomas in a society that believes that sex, love and drama are not necessarily limited to the life of the teenage vampire hunter.
What is puzzling is why Britain's film industry is much less than the sum of its parts. We have world-class writers, directors, actors and technicians but instead of cohesion and confidence there is agonised self-doubt. You only have to look at the talent and experience represented at Bafta BFI lecture series on screenwriting in September to see what we could do here. So what on earth is the problem? Why has the British film industry been unloved by itself for so long? One reason is that we probably haven't developed the right institutions.