Ideology and Binary oppositon
Levi-Strauss’
binary opposition –
Narrative tension is based on opposition or
conflict. This can be as two characters fighting, but more often functions at
an ideological level.
Dissidence : The act of opposing and
ideology.
ISA: ideological state apparatus A term
developed by the Marxist theorist Louis Althusser
to denote institutions such as education, the churches, family, media, trade
unions, and law, which were formally outside state control but which served to
transmit the values of the state,
to interpellate
those individuals affected by them, and to maintain order in a society, above
all to reproduce capitalist relations
of production.
Binary
opposites
Good vs. evil
Black vs. white
Boy vs. girl
Peace vs. war
Civilized vs. savage
Democracy vs. dictatorship
First world vs. third world
Domestic vs. foreign/alien
Articulate vs. inarticulate
Young vs. old
Man vs. nature
Protagonist vs. antagonist
Action vs. inaction
Motivator vs. observer
Empowered vs. victim
Man vs. woman
Good-looking vs. ugly
Strong vs. weak
Decisive vs. indecisive
East vs. west
Humanity vs. technology
Ignorance vs. wisdom
Dramatic tension centres around conflict: mias struggle for freedom conflicts with her environment and circumstances.
Joanne's struggles as a single mum and her need for love and happiness conflict with her role as a mother and lead to neglect.
Narrative patterning is indicated in the cinematpgraphy when Mia and then Joanne are framed inn a widest looking outside balcony.
Structuralism
Structuralism believes that we see/ understand/ enjoy films through recognition of these structures. Structuralism looks at a film as a set of patterns, relationships, or structures. Structuralism believes that we see/ understand/ enjoy films through recognition of these structures. The meaning of a film comes not so much from inbuilt (inherent) meanings of it's individual elements, as from how they interrelate within what we know as a films 'structure' or 'system'.
For example, structualism emphasises the importance of narrative theories and other recurring patterns/ content that help the audience understand what is going on. By using recognisable structures (e.g. genre films) the audience can easily understand its meaning.
Genre is considered as a structure/ set of conventional patterns. Plot structures are recurring story patterns. Plot structures are recurring story patterns that are a defining characteristic of a genre. Structuralist theorists such as Barthes, Levi-Strauss, and Todorov have analysed plot patterns found in fairy tales and other traditional narratives as these appear in contemporary film.
The way a camera is used to tell a story can also be analysed as structural elements as it uses the structure of film language to communicate with the audience. Structuralism is about semiotics which is, as you know, a concept of codes to discuss conventional ways that things are done in media text.
Codes are cultural phenomena because they are learned. It is through familiarity that codes come to seem natural rather than cultural: this process is called naturalisation.
There are various categories of codes: Cultural codes include the way that texts signify, for example, beliefs about gender, social class, and authority. The Hitchcock blonde for example, brings together various ways of representing gender, class and sexuality, which in turn reveal cultural beliefs in those areas. Cultural codes are particularly likely to become naturalised, as in notions during historical periods of what was considered the inherent nature or men or woman, or particular national or racial groups.
Structuralism
Structuralism believes that we see/ understand/ enjoy films through recognition of these structures. Structuralism looks at a film as a set of patterns, relationships, or structures. Structuralism believes that we see/ understand/ enjoy films through recognition of these structures. The meaning of a film comes not so much from inbuilt (inherent) meanings of it's individual elements, as from how they interrelate within what we know as a films 'structure' or 'system'.
For example, structualism emphasises the importance of narrative theories and other recurring patterns/ content that help the audience understand what is going on. By using recognisable structures (e.g. genre films) the audience can easily understand its meaning.
Genre is considered as a structure/ set of conventional patterns. Plot structures are recurring story patterns. Plot structures are recurring story patterns that are a defining characteristic of a genre. Structuralist theorists such as Barthes, Levi-Strauss, and Todorov have analysed plot patterns found in fairy tales and other traditional narratives as these appear in contemporary film.
The way a camera is used to tell a story can also be analysed as structural elements as it uses the structure of film language to communicate with the audience. Structuralism is about semiotics which is, as you know, a concept of codes to discuss conventional ways that things are done in media text.
Codes are cultural phenomena because they are learned. It is through familiarity that codes come to seem natural rather than cultural: this process is called naturalisation.
There are various categories of codes: Cultural codes include the way that texts signify, for example, beliefs about gender, social class, and authority. The Hitchcock blonde for example, brings together various ways of representing gender, class and sexuality, which in turn reveal cultural beliefs in those areas. Cultural codes are particularly likely to become naturalised, as in notions during historical periods of what was considered the inherent nature or men or woman, or particular national or racial groups.
Comments
Post a Comment