In Jean-Paul Dumont’s essay, The Tasaday, Which and Whose? Toward the Political Economy of an Ethnographic Sign, he states, “Every discourse—the present one included—is a discourse of circumstances. It is an inner social discourse. Because no discourse can be pronounced out of its historical and cultural context, it follows that there are acceptable and appropriate discourses, and others that are not” (Dumont, 273). What he means by this is that every discourse is strictly attached to different perspectives on history and culture; some discourses may appear true within their context but when out of context, they may seem utterly false. This idea of perspectival discourses can be exemplified through Indonesian films and novels and their notions …show more content…
One can see the main character, Guy Hamilton, first arriving to Indonesia with goals of becoming a great journalist and even betraying his friends by trying to report that the PKI were going to be armed by Chinese Communists. It must be noted that this was a popular belief during Suharto’s presidency, but the Indonesian communists were not found to own any weapons. The film’s decision to follow this notion can also relate to Ileto’s idea popular histories; in which history could be shaped by popular belief amongst ordinary citizens of a nation. Referring back to the character of Guy Hamilton, it is apparent that he was determined to stay in Indonesia and report despite the violence/danger displayed in the film. At first, Hamilton views Indonesia as a place he needs to be in and that’s why I argue this could be a way of Hamilton finding a “home.” Additionally, his character evolves as he is made more aware of the horrors taking place within Indonesia during the time that the Indonesian army took over the government then realizes by the end of the film that he wants to get out of the country and be his lover. It seems that the idea of home for Hamilton was situated, in the Dumont sense, because he did not desire to be elsewhere until major events in the movie occured; the military overthrowing the Soekarno, the death of Billy Kwan, and the scheduled departure of his
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
Jean Piaget became fascinated with the reasons behind why children cannot correctly answer questions that require logical thinking. Piaget was the first psychologist to conduct an organized study of the intellectual advancement in children. Before Piaget’s study, many believed children were merely less efficient thinkers than adults. Due to his study, however, Piaget proved children think in remarkably different ways than adults. Children are born with a very primitive mental complex that is genetically inherited and learned on which all the following knowledge and learning is based (McLeod, 2015).
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
Sluyter, Dean 1st ed., ‘Cinema nirvana enlightenment lessons from the movies’ (New York: Three Rivers Press, 2005).
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
Pramoedya Ananta Toer’s This Earth of Mankind is an allegorical novel describing the growth of protagonist Minke during the pre-awakening of colonized Java. Set in 1898 during the period of imperial Dutch domination over all aspects of Javan life, the novel provides a clear image of the political and social struggles of a subjugated people through the point of view of a maturing youth. Using several of his novel’s major characters as allegorical symbols for the various stages of awareness the citizens of Java have of Indonesia’s awakening as a modern nation, Toer weaves together an image of the rise of an idyllic post-colonial Indonesia with modern views of Enlightenment ideals.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
...e constraints with using language or sense perceptions as a single way of knowing. As more than one method is used to produce knowledge, inaccuracies or biases would be reduced. Ultimately, our own ‘cultural imprint’ further affects the way we interpret different types of art and how the language used by a historian alters our awareness of a historical event, as it is not possible to ask or investigate knowledge without having a preconceived notion of what you want to find.
The problems of ethnocentrism tend to manifest themselves in the philosophy of history, when philosophers attempt to interpret empirical history in teleological terms. Ethnocentrism arises whenever the researcher attempts to universalize the Western subject-position. In sociological terms that have been widely popularized since Sumner, ethnocentrism involves one first identifying with an in-group, with whom one shares certain observable characteristics (culture, language, physical features, or customs, for example).[1] The belief in shared characteristics leads to an assertion of identity, and this belief in turn influences attitudes. Our attitude toward the in-group is one of favouritism, whereas our attitude toward the out-group is one of