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The role of ideology in politics and society
The role of ideology in politics and society
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In one sense, ideology is an approach made by a filmmaker to expose his/her audience to a certain issue that might be never exposed by other filmmakers. These filmmakers want their audience to understand what they are trying to imply in their films. In other words, ideology is defined as one person’s belief where he/she (most of the time is the filmmaker itself) tries to pinpoint what message(s) his/her film aims to convey and communicate about a particular issue(s). For example, there are certain issues might be discussed in films, such as social, political, gender, race, sexuality and other issues related in our world nowadays. To put it differently, ideologies derive from emotions or feelings of a person towards the world and about human society, and therefore, these ideologies are not necessarily bound by the rules of logic (Pramaggiore and Wallis 310-311). Similarly, these ideology approaches in films able to shape the relationship between an individual and culture, influencing their ideas about others and society. Nevertheless, Pramaggiore and Wallis (310-311) depict that ideologies provide the realisation of the society towards the justification for the differential treatment of some within a society, where the inequality seems to promote the social dominance of one group over another.
In Sepet (Yasmin Ahmad, 2004), a lot of ideology approaches and issues which seem to be highly controversial in Malaysia, especially in Malay-Muslim culture are portrayed in this film. This film has brought the attention of local viewers, with good and bad responses from across the country. Interestingly, the issues that she brought up are considered taboo and not acceptable mostly from the public and the media, and eventually the government....
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...ss sensitive issues as her ideologies, and portrays them publicly in Sepet. Ultimately, Sepet made her won many international awards, as well as the Best Screenplay and Best Film awards in the 18th Malaysian Film Festival. Perhaps most important, as I stated at the beginning of this essay, her efforts in Sepet are not really appreciated by most of the Malaysian society, especially the Malay-Muslims regarding her approaches of ideology in portraying the unity of multiracialism and religions.
Works Cited
Sepet. Dir. Yasmin Ahmad. Perf. Sharifah Amani, Ng Choo Seong, Ida Nerina, Harith Iskander, Tan Mei Ling and Adibah Noor. Leo Burnett Malaysia, 2004. Film.
Ahmad, Orked and Jovian Lee Lit Hong. “Yasmin How You Know?”. Kuala Lumpur: Leo Burnett, 2012. Print.
Pramaggiore, Maria and Tom Wallis. Film: A Critical Introduction. London: Laurence King, 2011. Print.
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
It is commonplace within films to replicate aspects of society like the formation of cliques, and/or groups that are subsets of the whole population. In these kinds of movies filmmakers indulge in the attributes of these subsection as well as the social orders, which facilitates them. Sociologists, like Norbert Elias, have theorized the creations and replication of social strata within Western society since before the 19th century. Norbert Elias’s infamous works theorized the creation of a unified social control within a civilization and the extrinsic influences of that control on the individuals themselves. An example of his key ideas are inherent in the movie “Divergent” where the presence of an embedded subset group “threatens” the social order and thus becomes a target for eradication.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Narrative Apparatus Ideology. Ed. Philip Rosen, (New York: Columbia UP, 1986), 198-209.
The concept of ideology dates back to the time of the early Marxists who were seeking answers for the lack of a working class revolt against the exploitative Capitalist social system (Open Polytechnic, 2014; Barker, 2009b). They believed that people were taught to hold beliefs that lead to a false understanding of the social world and so reinforced the world-views of the powerful and the status quo of society as being both natural and inviolate (Open Polytechnic, 2014; Barker, 2009b). This teaching is carried out in the home, through the church, education system and mass media (Barker, 2009b). The emphasis on ideology as a means for reinforcing a group/s position of dominance has led some scholars to reject the concept as outdated in today's society as there is no longer a coherent dominant culture (Barker, 2009b). Others have taken the power aspect out of it and focus on it as people’s "principled idealised beliefs about the world and associat...
As defined by Merriam Webster, the term ideology refers to “a systematic body of concepts especially about human life or culture” (Ideology, definition 2a). In the socio-political realm, the term often refers to the reasoning or concepts supporting a political or cultural system that is beneficial to a ruling or powerful class. As a result of the more powerful class or race wanting to maintain the status quo and grasp on their power, this often leads to the oppression of their subordinate class or racial group. In a collection of texts previously analyzed for this class, Havel, Bonilla-Silva, and Stoltenberg all make pointed arguments concerning contemporary ideologies that are present in society. In each essay, the authors argue that these
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.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
However, upon the new changes in cinema—the idea of ideology shifted as well. Modernist Cinema subverted that typical dominant ideology. There is always a larger question poses about the film as a whole; why was this film made? Badlands situates the spectator in the position to decide whether or not murder is evil based on the visuals he or she views. The author’s hopes is that by creating unidentifiable characters and a nonchalant world that the spectator will realize that the idea of murder isn’t in fact being promoted merely the opposite—it’s being subverted. The subject matter of this film is one that is certainly unpleasurable in terms of entertainment but actually a dissatisfaction intending to comment on society as a whole. This intentional provocation involves “the attack on ‘entertainment’ cinema [as] part of a broader attack on the whole of ‘consumer society’” (Wollen, 424). Cinema serves as a distraction from society, but also operates to make a point to its intended audience. The point being the obvious, murder should never be morally acceptable. Its consequences typically should evoke a reaction that testifies against nature of the
Kerner, Aaron M.. “Irreconcilable Realities.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 462-83.
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.
The question of the racial, religious, and socioeconomic identity of Shahid becomes a central question posed as Shahid undergoes translation from his Pakistani ancestry to his desired identity as a Briton. Shahid's translation parallels the translations of the former Asian colonies of Britain into their new postcolonial identities. Unfortunately for Shahid, the struggle over The Satanic Verses catches him as he is translating himself, presenting him with a series of tough choices.
Ideologies are mental systems that organize socially shared attitudes, and these mental systems are social representations that function as “models which control how people act, speak or write or how they understand the social practices of others” (van Dijk, 1995: 2).
The concept of orientalism refers to the western perceptions of the eastern cultures and social practices. It is a specific expose of the eurocentric universalism which takes for granted both, the superiority of what is European or western and the inferiority of what is not. Salman Rushdie's Booker of the Bookers prize winning novel Midnights Children is full of remarks and incidents that show the orientalist perception of India and its people. It is Rushdie's interpretation of a period of about 70 years in India's modern history dealing with the events leading to the partition and beyond. Rushdie is a fantasist and a creator of alternate realities, the poet and prophet of a generation born at the degree zero of national history. The present paper is an attempt to study how Salman Rushdie, being himself a writer of diasporic consciousness, sometimes perceives India and its people as orientalist stereotypes and presents them in a derogatory manner.
Saat Sulaiman; Usahawan cemerlang: tip dan panduan keusahawanan; available from [Book]pp 14-80. Retrieved on 9 March 2014