History in Film
Introduction
[1] Who owns history? When portraying a historical figure, specifically a female figure (of which there is a distinct lack due to either scarcity of existence or insufficiency of acknowledgment in society), film has a responsibility to accurately represent the historical figure whose reputation is at stake. As a medium relating past to present, film possesses the incredible capacity to take ownership of history; the director holds the key to making history real or reel. Film has the power to exalt or distort historical figures to fit the mold of present day ideals. Maria Luisa Bemberg, director of Yo, la Peor de Todas (I, the Worst of All), embraces history and film in an attempt to bring enlightenment to the public. However, this movie has yet to infiltrate mainstream western culture in the United States or abroad. In contrast, Luc Besson, director of The Messenger: The Story of Joan of Arc, manipulates the story of Joan of Arc to fit the demands of a culture that feeds on action-packed, blood-gushing movies. We will take a look at both these directors, the films, how the films present their characters, what manipulation in film does to influence people’s idea of the historical figures, and how the movies are created to fit present-day ideals.
History of Directors and Film Intro
[2] Herself involved in a field not known for women of her time, Argentinean director Maria Luisa Bemberg tackles the biography of Sor Juana Inés de la Cruz, a narrative much like her own. Growing up during the 1920’s in upper-class Buenos Aires, Bemberg never acquired a high school or college diploma but received an informal education under the guidance of a governess. Surviving in an age in which men still held the dominant hand, Bemberg lived out the first three decades of her adult life a married woman raising four children and suppressing a lifelong dream of delving into film. But at the age of 56, after going through a divorce and becoming a grandmother, Bemberg caves in to the “curse of an inquiring mind” and creates films that document “women that are vertical, autonomous, independent, thoughtful, courageous” (Bemberg as quoted in Bach). After having her life’s path determined for her by her controlling father and after being stifled by her older brothers, Bemberg is able to relate to Sor Juana’s struggle to find an open forum for her voice to be heard.
Armstrong, Gary, and Philip Kotler. Marketing: an introduction. 11th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2013. Print.
The Revolutionary war, sparked by the colonist’s anger towards taxation without representation, was a conflict between the United States and its mother country Great Britain. This event had been considered the most significant event in the American history. It separated the thirteen colonies from the tyrannical ruling of King George. The revolutionary war was not a big war, “The military conflict was, by the standards of later wars, a relatively modest one. Battle deaths on the American side totaled fewer than 5,000”1. However, the war proved that the thirteen colonies were capable of defeating the powerful Great Britain. Over the years there were many Hollywood films made based on the revolutionary war, 1776, Revolution, Johnny Tremain, and The Patriot. But, no movie has stirred up as much controversy as the Mel Gibbson movie The Patriot. The patriot is very entertaining but it is historically inaccurate. Too much Hollywood “spices” was added to the movie for viewing pleasures.
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
[1] Hollywood is no longer just a name, it is a business, a living entity holding America’s people in its grasp, and it is not about to let them go. Gradually taking on more responsibility and trying to build up its reputation over the years, Hollywood has progressively assumed the position of history-teller for the American public. This role, whether or not an appropriate one for an industry such as Hollywood to tackle, has catapulted actors and actresses into high paying, high visibility positions. History has and will continue to be one of the main subjects that the movie industry has been fascinated with. It is an alive and very fragile subject that, through its multi-dimensional character, requires careful attention by everyone involved in the project. Whenever Hollywood tackles an historical topic, whether portraying a non-disputable factual event or only a vaguely one, the industry is bound to encounter dispute and criticism.
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
These days more and more audience like to see their beloved actors and actresses portray superhero or heroine figure in spandex suit blasting laser beam from their eyes, turn into fire then fly away to outer space, or even a scientist who turn into a huge, green, car-throwing, head-smashing monster with indestructible pants when he transforms. But not small amount audience like films with classical-antiquity geographical and timeline set such as Ben-Hur, 300, Spartacus, etc. Antiquity and modernity always be an important part in filmmaking, whether in its screenplay, set design or character design. In some movies these aspect can be shown separately or combined in sort of a new way in filmmaking.
Diagnosing an individual with DID can take several years. “Due to the variety of [Sophia’s] symptoms, accurate diagnosis puzzled not only her but also the practitioners from whom she sought help.” (Fox, et. al., 2013) It is estimated that people with dissociative disorders have spent more than seven years in the mental health system prior to receiving an accurate diagnosis. With this complex psychological disorder, misdiagnosis is common because the series of symptoms that cause an individual with a dissociative disorder to search for treatment is very comparable to those of multiple other psychiatric diagnoses. As a matter of fact, many people who are diagnosed with dissociative disorders also struggle with secondary diagnoses of depression, anxiety, or panic disorders. (Goldberg, 2014) For example, “dissociative symptoms commonly co-occur with borderline personality disorder (BPD) and the prevalence of DID among outpatients with borderline personality disorder (BPD) was 24% in two separate studies.” (Chelbowski & Gregory, 2012) Again referring to the case study Recovering Identity, Sophia describes her diagnosis, “I was diagnosed with everything. I was schizophrenic, schizoaffective, borderline, bi-polar, ADHD.” (Fox, et. al., 2013) Clinicians perceived her unwillingness to accept
The 1920s was a time of the great success and thrive of the film industry. It was the beginning of the studio era, as the main eight studios emerged (The Big Five: Warner Brother Pictures, Metro Golden Meyer, 20th Century Fox, Paramount, RKO; The Little Three: United Artists, Universal, Columbia Picture). Especially in 1920s the market started to grow rapidly. First of all it was because of technology progress, (such as the ability to create longer movies; starting from 1910s there were experiments for sound creation), growing interest from the audience and growing popularity of actors. Also one of the main reasons was commercial side, as lots of people saw a great opportunity to raise money from the film making.
The Dissociative Disorders category of the DSM-IV-TR, is characterized by a disruption in the functions of perception, identity, consciousness, or memory. The disorders in the Dissociative Disorders category include Dissociative Amnesia, Dissociative Fugue, Dissociative Identity Disorder (DID), Depersonalization Disorder and Dissociative Disorder Not Otherwise Specified.
My topic of choice for this research paper is Dissociative Identity Disorder or DID. This appellation is rather new; therefore, most are more familiar with the disorder's older, less technical name: Multiple Personality Disorder or MPD. When first presented with the task of selecting a topic on which to center this paper, I immediately dismissed Dissociative Identity Disorder (which for the sake of brevity will be referred to as DID for the remainder of this paper) as a viable topic due to the sheer scope of the disorder. However after an exhaustive examination of other prospective topics, I found myself back at my original choice. There are several reasons why I chose DID. The foremost of which is the widespread fascination of this disorder by many different types of people; most of whom otherwise have no interest in psychology or its associated fields. One would be hard pressed to find someone who hasn’t been captivated at one time or another by the extraordinary, all too well known symptoms of this disorder. This fascination… dare I say ‘allure’ to this disorder is exemplified by the myriad of motion pictures that have been produced based on cases, real or fictitious, of DID. Another reason for my choice is what I feel is the insufficiency of effective treatments for DID. Despite what is known about this disorder, (which is relatively a lot) there are only two chief treatments for DID; the first and most prevalent is psychotherapy; also known as ”talk therapy”, the second is medication. The third and final reason for my choice is my own enchantment with DID. I must admit that ever since I read about Sue Tinker, a woman who was diagnosed with over 200 different personalities. In writing this paper I hope to discover more about this disorder and perhaps be able to identify a few areas that I feel might require more research on the part of psychologists specializing in DID.
Labanyi,J. (2004). Costume, Identity and Spectator Pleasure in Historical Films of the Early Franco Period. In: Marsh, S and Parvati,NGender and Spanish Cinema . UK: Berg Publishers.
According to Barlow, Durand & Stewart (2012), Dissociative Identity Disorder (DID) is one of several dissociative disorders in which a person experiences involve detachment or depersonalization. They go on to explain that people with DID ha...
Sofia Coppola’s movie, The Virgin Suicides, 1999, brings to the forefront the reality of what life is like for five oppressed teenage girls living in suburbia in the mid-70’s. After examining numerous articles, a few of them made an impact on my perspective. The first of many articles is Todd Kennedy’s piece, Off with Hollywood’s Head: Sofia Coppola as Feminine Auteur. Kennedy discusses how Coppola has a tendency to lean toward directing films that cater toward females’ interest, either because of the visual imagery or women’s feelings of connectedness with the characters. The author reveals that The Virgin Suicides portrays women as becoming dominated by the environment surrounding them. The author gives an interesting point of view when he claims, “The film tells a story of the five Lisbon sisters whose identities exist only insofar as they are defined as the objects of the masculine desire” (44). Furthermore, the Kennedy asserts how the film serves as a prolonged exploration into the degree to which female characters are idealized, objectified, and defined by the image that the film- and their society- imposes upon them.
Petty Ross D. Editor's Introduction: The What and Why of Marketing; American Business Journal, Vol. 36, 1999