Dissertation on "Portfolio on the Relationship Between Movies and Cultural Studies"

Dissertation 12 pages (3686 words) Sources: 1+

[EXCERPT] . . . .

Their exchanges at the start of the movie suggest that conservative morals related to sex are mostly abjured in support of one wherein the key determining factor is power. In this movie, how sexuality is depicted in relation to power is highly divergent from Western culture's sedate sexual morality (seen ever since the early 20th century's sexual revolution). Apart from explicit examples in pop culture wherein homosexuality- in its many forms, which include gays, lesbians, transgender individuals, etc.- isn't only accepted but is apparently forced upon society, sexual practices' and sexuality's morality is firmly enforced in America.

An examination of the two main characters within this film -- Bill and Alice -- (particularly in their interactions early on in the movie) indicates that the conventional moral values associated with sex are largely eschewed in Eyes Wide Shut. Instead the film depicts a relationship that could be viewed as one in which power is the chief determinant. Bill shamelessly flirts with a pair of young women (regardless of the fact that Alice is present); Alice shamelessly flirts with an older "Hungarian" (Ebert) man (regardless of the fact that her husband is present). In fact, it quickly becomes apparent that each was aware of the other one's flirtation. Bill's social eminence is transformed into a form of power with the women he flirts with, who are enamoured by his status as a doctor. Similarly, Alice's status as a married woman is effectively a form of power which makes her more desirable in the eyes of the older man. These manifestations of power have forsaken the conventional moral value of sexuality -- monogamy -- and have replaced it with one based on social power. There are numerous flashbacks that Bill has of Alice having sex with this other man while he wandered through the streets. Alice's recounting of this tale is the ultimate exercise of power, because she is telling Bill about a man who, for all practical purposes, no longer exists but for whom she was perfectly willing to sacrifice everything that represented conventional Western morality pertaining to sexuality -- her husband, her daughter, their home, her family life. This assertion is her way of assuring Bill that he does not control her sexually (or emotionally or mentally, for that matter) and that she has considerable sexual power which overrides the power Bill possesses over her.

Taxi Driver (1976) by Martin Scorsese and Collateral (2004) by Michael Mann, both have a common setting- the lead lives in a fantasy world; he is ignorant of his surroundings and gets rudely awakened from it, to be finally shoved into its midst as he realizes the insanity of the real world. In both instances, inaction is surmounted as a result of distressing and explosive violence. Though both movies have a similar theme -cab-driving, appalling violence, stark night life in the city- the films, on the whole, lead to altogether different outcomes. The protagonist in Collateral ascends to a stage of heroic quality, while Taxi Driver's central character falls prey, in response, to his own insanity (analogous to Hamlet's fall within Elsinor).

Conclusion and Reflection

The movie, Slumdog Millionaire is expressed from a Westernized viewpoint instead of an Indian perspective. It projects Western standards and principles onto Indian culture. Centering the movie on a quiz show, which is a Western addition to Indian culture, is testimony to this fact. As enjoyable and captivating as we find Slumdog Millionaire, tricky aspects do accompany it, such as the example mentioned above. Firstly, the filmmaker builds on issues in India. The movie clearly captures the enduring dynamic between Western Self and Eastern Other. Watching the movie, audiences might question how far Westerners have reached in letting go of outdated typecasts and opinions regarding "exoticism." The movie doesn't just project Western principles onto Indian culture, though some excesses of the dynamic are present in it. Slumdog Millionaire also projects a force of Indian Self and Western Other in the manner in which Boyle includes genuinely Indian motifs and ideas. Secondly, the happy-ever-after finale looks sickly-sweet and even inconsiderate of Indian poverty's grim realities. Thirdly, this tale of an impoverished lad turning rich overnight epitomizes the American Dream. This flick's fantasy element is forceful, particularly since it reminds viewers that, despite pretending to have evaporated, the American Dream still exists. While several Americans have turned cynical to this story, Indians have been proven innocent enough to still hope. For India and other new markets, this Dream has significant influence. Lastly, the American Dream's representation in Indian society follows localization models of a notion or philosophy which is globalized. As noted in Keller's "Theorizing Globalization," globalization's prospective benefits encompass new economic prospects, diversity of culture, political democratization, and entry into a thrilling new world. The movie effectively displays this ideal image of globalization impacting India. Globalization's positive effects are also spontaneous. The Western idea that immense advantages pose themselves to those Indians who adopt Western principles is also highlighted in the movie. Slumdog Millionaire supports the justifiability of American-European philosophies with regards to social progress and the natural equality of every human. Similarly, negative outcomes for those who stick to old-fashioned economic, political, and social models are also shown. The American Dream's core component is raising one's financial standing in society. Thus, the movie backs the constructive globalization model. For Americans, a key economic globalization indication is outsourcing call centers that offer customer service to countries like India. Boyle, whether or not ironically, copiously incorporates such representations of globalization into the film. The work ethics aspect, as well as the fantasy one, intermixes to form a contradictory and intensely vague global philosophy. The movie portrays a shift in the direction of the ideal global society, which must take place all over the globe. However, it is inferred that every Indian must have faith that this model will prove profitable for them.

Zelig, by Woody Allen, ably exposes the mockumentary's several characteristic flaws and potentials. It is a stimulating, clever satire which apes and "destroys" archival recordings as a comprehensive, truthful medium of preserving history. The storyline is as follows: Zelig, the protagonist, is a 20s American, over-keen on fitting in and living by the rules- this trait makes him transform himself, like a human chameleon, into any kind of person- irrespective of size, race etc. As per the film, this characteristic of Zelig eventually takes him to 'celebrity' status. Instances to depict his success and fame include a marketing jackpot of songs, chameleon dance and also a Hollywood movie on him. On first turning into a celebrity, he is examined by medical researchers- including Dr. Eudora Nesbitt Fletcher, a psychiatrist; this examination proves unproductive. On coming back from Italy, Zelig is sequestered in the country, where Dr. Fletcher effectively treats him and gets rid of his disease. This 'cured' Zelig then travels around America with a restored celebrity standing, giving motivational talks on "being yourself." Further, Dr. Fletcher (who now becomes famous for curing Zelig), and Zelig- announce that they're engaged; numerous women, at this point, come forth asserting that, while in some or other of Zelig's chameleon personalities, they were married to him. Now, on being accused of infidelity and bigamy, Zelig finds the easily-swayed society turning on him; he is coerced into reverting to his disease and vanishing. Dr. Fletcher hunts him down, and Zelig is finally found in news footage of Hitler; she consequently goes to Germany, where Zelig is shown to be in the inner circle of Hitler. On seeing Fletcher, he once again emerges from his chameleon living and both go back to the U.S. The misled, naive public is now seen applauding Zelig through a New York ticker tape parade. Fletcher and Zelig then get married, and eventually become obscure. Zelig portrays the capacity of fabricating and altering history, in addition to the unreliability of documentaries based on archival-footage, by skillfully imitating the archival system. The film also follows the ability of mockumentaries to parody human character, celebrity, the need for belonging, conventionality and adaptation. By doing so, a key function of mockumentaries is realized -- audience's self-assessment and self-consciousness. Another potential that Zelig accomplishes is the capability of providing entertainment to viewers by enabling them to delight in a shared culture and history. Lastly, it achieves the potential of literally altering the truth by the detection and naming of a new disease having symptoms shown by Zelig. By its intimate association with the black-and-white archival documentary format, Zelig is limited as parasite and slave to that format. In addition, Zelig is limited by the inherent limitation of film, itself. Finally, by repeated use over the decades, the format used by Zelig has gone from edgy and innovative (which it may have seemed when 'first released') to stale and far less effective. In sum, though chronologically predating the mockumentary era, Zelig remains a classic example of the highly effective mockumentary genre.

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