1968 and the Leftist turn. [Post ‘68]: Structuralism, structures of ideology, larger structures, not just Hawks vs Ford. Ideology: system(s) of belief: reveal that much “knowledge/belief” in people’s ideas are subjective, we are “dupes,” ideology is a process. Louis ALTHUSSER, ideology not just a system of beliefs but a system of representation (semiotic/signifying systems) We need symptomatic analysis of films . Looking for ideological stae apparatus… Individuals are products. We are shaped, positioned onto ideological structures, we are objects. Every text is going to try and position its audience and we have to fight that. There is a dominant culture and we have to evaluate it. How does ideology work in films? IDEOLOGY AND THE CLASSICAL REALIST TEXT, Althusser [Marxist critic]: “Ideology is a system of representations (images, myths, ideas…) that create an imaginary relationship between individuals and the society in which they live” Dominant styles of dramatic realism can only express the dominant ideology implicit in conventional bourgeois notions of reality. Viewers see their own, uncontrolled ideology. Cinematic apparatus creates a window-like illusion, so cinema is particularly adept as an ideological tool.Cape Fear (J. Lee Thompson, 1962)
- END: 1) family, 2) Sam = Max (violence), backs off. Sam wins physically, not because of his values. Justice system not protecting raped women. The law protects Mac not Sam, Max resorts to the law and Sam resorts to violence. Sherriff: “Either we have too many laws or not enough.” Sam has to keep telling his daughter to hide in the woods, she can’t even do that by herself.
Classic Realism & Ideology (Robin Wood)
- Classical realism obscures contradiction in lived reality via Internal coherence and psychological causation/plausibility. Classical realist text tries to efface all traces of the work of the film. The classical text is attacked by Barthes, representational accuracy’s true function is to create “reality effects, “ the illusion of truth. By effacing the signs of production, dominant cinema persuades spectators to take what were mere constructed effects as transparent renderings of the real = especially strong cinema which combines perceptual codes of monocular perspective and 19th century codes of realist fiction → an attack on Bazinian “transparency” in favor of ideological deconstruction. Testing/revealing marks of enunciation or production. Critical results: 1) Steers away from mere thematic analysis, 2) avoids “formalism” of studying narrative or representation as isolated systems, 3) centers cinema in discussion of social formation/cultural studies. WOOD: capitalist ideology: ownership/individualism, success/wealth. Max sells his home to destroy Sam’s. Max doesn’t accept the payoff. Marriage/family (women = property), extensions of ownership. IDEAL male = virile (and/or dependable = dull), IDEAL female = wife/mother.
- END: 1) family, 2) Sam = Max (violence), backs off. Sam wins physically, not because of his values. Justice system not protecting raped women. The law protects Mac not Sam, Max resorts to the law and Sam resorts to violence. Sherriff: “Either we have too many laws or not enough.” Sam has to keep telling his daughter to hide in the woods, she can’t even do that by herself.
Classic Realism & Ideology (Robin Wood)
- Classical realism obscures contradiction in lived reality via Internal coherence and psychological causation/plausibility. Classical realist text tries to efface all traces of the work of the film. The classical text is attacked by Barthes, representational accuracy’s true function is to create “reality effects, “ the illusion of truth. By effacing the signs of production, dominant cinema persuades spectators to take what were mere constructed effects as transparent renderings of the real = especially strong cinema which combines perceptual codes of monocular perspective and 19th century codes of realist fiction → an attack on Bazinian “transparency” in favor of ideological deconstruction. Testing/revealing marks of enunciation or production. Critical results: 1) Steers away from mere thematic analysis, 2) avoids “formalism” of studying narrative or representation as isolated systems, 3) centers cinema in discussion of social formation/cultural studies. WOOD: capitalist ideology: ownership/individualism, success/wealth. Max sells his home to destroy Sam’s. Max doesn’t accept the payoff. Marriage/family (women = property), extensions of ownership. IDEAL male = virile (and/or dependable = dull), IDEAL female = wife/mother.
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