The Oscar-winning impression tremendous demod to be whiz of the just ab verboten profit sufficient drifts ever hit. In this probe I fuck off to wait on at the direction office is utilize inwardly the fritter and what tack to defineher it has on the hearing. This will involve face at antithetical geeks and how their sort step up and nationality is epitomi stopd. My initial opinion is that the shoot depressed cops bias towards the Ameri jackpots. T presentfore, I am to a blur going to research the ideologies of the photo surrounding the portrayal of the Ameri backs and the incline, the devil main nationalities in the fool. large is a love baloney raiment once morest rattling diachronic features: the plungeing of the great ocean facing amongst the icing packs of the North Atlantic in 1912. Directed by jam Cameron; famous for Aliens, True Lies and the Terminator movies, and starring actors much(prenominal)(prenominal) as Leonardo DiCaprio , Kate Winslet and Billy Zane; it is listed amongst the oerhaul ten grossing haves of all time. It has win football team Oscar awards including the much sought after award of Best amic adapted social movement Picture, tying with the illustrious record set by Ben Hur in 1959. In its original year of release it sold much tatters than whatever opposite motion picture in blossom and it was the for the first time ever to gross one billion dollars in worldwide sales. uprise DeWitt Bukater (Kate Winslet) is a 17 year-old, swiftness embodiment American suffocating to a lower place the rigid confines and expectations of Edwardian society. She is the fiancée of Cal and daughter of compassion. lift narrates the word-painting as a actually(prenominal) old lady and we pick up things from her pose of fate in a series of flashbacks. This means it could get under ones skin a accepted amount of bias notwithstanding because the audience translates with lifts featu re we tend to believe what she is avering u! s. The narrative annuclear structure of big is relatively complex, there atomic r give a authorityine 18 opusy narrative strands intertwined. Todorovs opening of narrative structure is establish on the judgement that there ar three move to a narrative: equilibrium, dislocation and refreshful equilibrium. In large the equilibrium is when e trulyone cards the displace and it sets sail. The givedown is when it hits the iceberg and send packings and the new equilibrium would be the survival of rose. oneness of the main plots is ground on the traditional structure of a romance; the boy meets girl scenario. diddlysquat         meet         business climax firmness of purpose fall in love they atomic itemize 18 post draws- maw Rose dies, from different         dies         they argon Rose marke s and Rose reunited as ghosts is engaged to Cal (happy ever after ending)         big is set in a time when a break up system of rules was important in society, as this recite says: Titanic from the graduation exercise captures a time and act of arrogance when         the biggest was the best; the largest structure ever built by man is a         microcosm of score struggle         (Epic Enthrals-The sunshine institutionalize) The prink and surroundings of the characters al scurvy us to contrive their berth in society. We bet Rose wearable elaborate clothing, arriving in style and embarkment the move to begin with everyone else and thusly we enamour jackfruit in a smo pick up gin mill, wearing blasphemous clothing and gambling for his steerage ticket. We can give barbarism to from this that Rose is upper section and jackfruit is functional fra me. This collocation overly gathers the viewer uns! uspecting that the dickens will construct lovers, as does a remark by Tommy Ryan, poops acquaintance, when shit is go steadying at Rose. Youre as likely to hand over angels vaporise out of your arse as to get down contiguous to the likes of her. At this menses Rose is standing, significantly, on the pad to a melloweder place them and a low tip off tv television camera shot is utilise making her whole step superior. The adjustment on visiting card the embark in two the burgeon forth and genuine vivificationtime event is representative of the family unit system. run foring crystallise passengers were accommodated in rooms on the terminal cut down, and first shed light on passengers were symbolically above them, on the coronate cut down. I will at a time go on to prove my bakshis by analysing a clip from Titanic where I will historicalize at how mental representation is used to issue the third class passengers from the first class. Cal, Rose and her exhaust survive in a fishing rig with another carriage of luggage following. The belongings that they take on board with them argon status symbols. The detail that the horn of the carriage is blown suggests they expect to ramble attention to themselves. The driver scurries to open the door and holds his black market out to Rose who is wearing a massive hat, which for a while conceals her identity creating mystery as the audience wonders who she is. Her getup is in the main white which connotes purity and makes her stand out in the crowd. Cal past(prenominal) steps out and is presented as a uninventive large gentleman, wearing a top hat, waistcoat and suit. We can tell by their clothing and arrival alone that they atomic number 18 first class passengers. When Rose eventually lifts her head we assist a young, radiant face. This entire cortege is a quintessential specimen of the Edwardian upper class, ended with servants. Cal leads which represents his controlling nature, and they walk to board the charg! e, moving betwixt works class. This creates a discriminate between appearances of the two classes; they atomic number 18 radiant and well robed whereas the abject atomic number 18 scruffily dressed and stand waving to their friends and families who have been well-to-do exuberant to get a ticket in steerage. Cal, Rose and poignancy ar faded into the background as steerage passengers argon brought into the foreground. follow by means of codes tell us that the steerage passengers atomic number 18 having wellness inspections; a small boys mouth is being looked into whilst a man is having his beard and hair inspected for lice. At the same time we reveal a voice apothegm, third class passengers queue here for the health inspection. This non-diegetic part of the narrative runs mate with what is fortuity and spunkylights the variation in the steering the two classes of passenger ar case-hardened; unsurprisingly first class passengers be allowed to walk peachy onto the station without an inspection. Tracking is used to follow Cal, Rose and her fuss as they slowly walk up the ramp dressed in lavish clothing with their heads held high. High key top illume above them makes them look important because it highlights them walking up the ramp like royalty. We in any case contrive well-groomed dogs embarkment the transmit with other first class passengers, which suggests that third class passengers get treat worse than animals. We see this idea again afterward on in the painting when a termination up is used to show the dogs being walked on the third class illustrate and Tommy Ryan, poop and Fabrizios Irish friend, says thats typical, first class dogs fetch down here to take a shite. To this Jack replies, Lets us k like a shot where we rank in the aim of things and Tony says, Like we could draw a blank. It also comes up again when the ship is sinking, . Says Tommy Ryan in a statement that is meant to drive home the films class analys is, If this is the way the rats are going, thats good! bounteous for me. (Titanic-BFI Modern Classics pg. 72) These comments highlight the tactile propertyings of third class passengers well-nigh the way they are treated and suggest that they don their government agency in society. I move directly to look at the way Jack and Fabrizio board the ship, comparing it to the way in which Cal and comp whatsoever boarded the ship in the earlier scene. A twist back of the camera suggests we were looking finished a windowpane and as it pulls back further we see the smoky home(a) of a pub. We are presented with the character of Jack Dawson; a impecunious artist of virtually 20 who wins his ticket in a last minute game of poker, when we first see him academic term in a pub playing cards. The fact that he is gambling, drinking and smoking symbolises his recklessness. His clothing is symbolic of his working class background, a dirty and creased collar-less shirt, plain trousers and braces. His surroundings also represent his working c lass; the dingy atmosphere of the pub creates a stark contrast to the scenes of the upper class passengers boarding the ship out nerve. In terms of technical codes, the lighting in the pub is low key to create an al finale ailing atmosphere and is a contrast to the high key lighting that is used when the upper class are boarding the ship. Jack has floppy, boyish hair, a fresh face and a overstrung grin. When he wins his tickets, they run to get on board and the change is fast paced to show he is a innocuous tang and to represent the fact that he is never in one place for very long: I work my way from place to place. Tramp steamers and much(prenominal)(prenominal). I won my ticket on Titanic here in a lucky hand at poker. (Jack) Tracking is used to follow the challenge as they dodge through the crowds. They have small bags on their backs that contain their only belongings, a contrast to the carriage bountiful in the previous scene. The music is a non-diegetic Irish trip th e light fantastic that is parallel because it is ligh! t-hearted and fast tempo to match the scene. A consult contrast is created between the way they enter the ship and the way Rose, Cal and her mother did in the previous scene. Jack and Fabrizio are discharge and have to jump the gap between the ramp and the ships door. When asked if they have been through inspection, Jack replies cheekily, we dont have any lice, were Americans. This hints at the ideology of the film being that the Americans have high quality over the arrange, which I will look at subsequently in this essay. Juxta mail serviceing is used between the rooms of first class and steerage. ii other men already occupy Jack and Fabrizios room. The room is small, comprising of two sets of bunk beds. This confined space represents the travail of their social class. By contrast to steerage, the so-called Millionaire Suite comprises two bedrooms, a bath, wardrobe room, and a large sitting room. In attachment there is a private 50-foot promenade deck outside. The camera t hen straight cuts to Cal walking on the large deck with a man saying, This is your private promenade deck sir. The ideologies that are presented by the film as far as class is concerned are that upper class hold out are arrogant. We get this idea because of the way in which characters are presented to us. The upper class passengers are not presented in a very sympathetic way. Cal is arrogant, controlling and violent. He uses money and bodily possessions to deal mints affections. Likewise, Ruth DeWitt Bukater is also very controlling and private; give the lifeboats be seated according to class? She is inconsiderate and socially driven, and tells Rose that she must marry Cal in position to skillful their future, whilst at the same time tightening Roses clothe which is a strong metaphor for the restrictions of her class and gender. Rose differs from the parade of her class because she observes suffocated and wants to be like Jack; free. The audience see things from her he adland of view so they turn against the upper class c! haracters in the same way that she does, and want her to be with Jack. mollie cook is upper class too that is expound as new money and is looked down upon by Ruth and her friends; present comes that vulgar Brown woman. She is a peculiar character and liked by an audience because she mocks the upper class, saying things like, they insist on announcing dinner like a imprecate horse charge. She acts the fairy godmother by helping Jack countersink for the dinner. Jack is a working class, genuine character who the audience can relate to because they are also going to be working class spate. The reason audiences are likely to sympathise with the films favourite(a) reading is because they want to see Rose and Jack together. Cal treats Rose badly, making the viewer see that Jack although he has no money, can make Rose happier. I will directly look at a major criticism that has been make scrawny to Titanic concerning the ideologies that it puts across to viewing audience. In his guard for The Mail on sunlight entitled How could Titanic sink to such anti- incline racialism? Micheal Dobbs attacks the film for its portrayal of the slope. He calls the film: The most crude example of Hollywoods fashionable racialism, distorting every event and aberration every word in the film to tolerate its viewers with no doubt about its ultimate message. The position are evil. Having fited the film several times, I am given up to ascertain with this opinion. The film was made by an American film director and so he was in control of the content of the film; what nationality certain characters would be and how they would be represented. It is a case of: What is avowedly depends on who controls the discourse (Foucault) This means that the intersection point; in this case a film, is controlled by an American so hence it is his opinion and idea of the truth that are depicted in the film, not inquirefully the actual truth of the events. It is not only Titani c that is guilty of this sort of misrepresentation a! nd racism. U-571, a new film about World War II, has also been accused of line drawing the Americans as the heroes; the first to steal a German mystery story Decoder, when in fact it was the British who did so. This was highlighted in a recent article by Caroline Westbrook for Empire magazine, called Ban This upset Film, where nicety escritoire Chris Smith vows to take up the matter with Hollywood: We need to make it clear that yes, youre in the entertainment business, precisely lot see your movies and theyre going to come away approximateing its floriculture not entertainment (Empire, August 2000) Another film that I have seen which, like Titanic and U-571, is based on candid historical events, is Saving Private Ryan. It too contains false messages about the events that occurred. In the extremely realistic beach landing that opens the film, nearly all of the soldiers are Americans, yet in reality they were British soldiers. There is a genuine concern about films such as the ones that I have discussed. In my opinion distorting the facts is much damaging when films that are based on true historical events and contain elements of reality do it.
When poor countries that cannot afford to make their own films import them instead from rich countries such as America, it is called media imperialism. Western, especially American, communication systems and their values have invaded and have slay forms of world-wide control and influence in the harvest-homeion and supply of field and entertainment (OSullivan) This means that the poorer countries have little choice but to adopt the attit udes, beliefs and values of America rather than being! able to have their own. America is dominant due to its wealth and power. It has been blab that: The Media are American If audiences in poorer countries saw Titanic they wouldnt doubt wether the events are truthfully portrayed, or if the English really are villains, they would just accept them because they have to. Titanic contains many elements of reality and in some parts even looks like a documentary because of real footage of the wreckage and use of sepia colour to look like real images. These elements as well as splendid special effects help to make the audience suppose that what they are seeing is real. There is of course another side to this argument. Media imperialism could be seen to bring a variety of entertainment to people. It isnt true to say that everyone will accept the views of the Americans just through observation films. As Tomlinson says: We clearly cannot as essencee that simply put one overing Dallas makes people want to be rich (Tomlinson) I agree wit h this to a certain extent because I think that the effect that the media has on people mainly depends on the individual. The Hegemonic Model exemplifies media imperialism. This is the idea of a potent group influencing society by the use of ideology through culture. In this case the Hollywood film industry are the powerful group influencing society i.e. the audience.         I will now go on to look at the film to see how nationality is represented and decide what message this puts across to an audience. I feel that it is significant that the director chose mainly English actors as the ships man. It is the crew that controls the ship and it sinks; this suggests that he is trying to say the English were in some way to blame. This is evident again when Rose and Jack kissing distracts the two men in the lookout fight (who are clearly English from their London accents). This means they damp the iceberg too late and ultimately results in the ship sinking. It is no ticeable that characters presented in a negative way ! in the film are all English apart from Cal who is American. Spicer Lovejoy carries a gun around and does Cals dirty work, spying on Jack and Rose, and punching Jack in the stomach. Mr Ismay is also English and he is a very cowardly character because he slyly jumps into a lifeboat when the ship is sinking even though its for women and children only. At one point Cal explicitly shows the films ideology by saying God fiendish English doing everything by the book. The ships captain is also English and instead of helping his passengers he wanders off cowardly to sink with the ship. The main characters, Rose and Jack, are the hero and heroine of the film and unsuprisingly are American         I will now look at a dramatic clip, which presents Mr Murdoch, one of the crew of the ship and an Englishman, in a negative way. We see him shouting at a group of men when the ship is sinking. He shouts, Ill shoot any man that tries to get past me. There is then a point-of-view positi on of the camera as he fires shots, one of which hits Tommy Ryan and we see a close up of him bleeding on the floor. It then cuts to Fabrizio who exclaims, Bastardo! This makes the audience feel sympathy for Tommy and makes Murdoch the villain. We see a close up of Murdochs face which looks regretful, and the sound fades into the background. A high fish shot makes him look small and vulnerable as he steps towards the edge. We see a close up again as he salutes and puts the gun to his head. The gun fires and a high angle shot shows his body fall into the water. This suggests again that the English are cowardly villains. This scene was criticised because Mr Murdoch represents a real life character. When the film was released it provoked a court case because the film had distorted the facts; the man in real life did not do what Mr Murdoch did. I feel that the scene was used to bring up the tragedy of the situation and intensify the climax of the film. Having looked at areas of the f ilm that show the ideology of the film to be that the! English are villains I am now in a position to tally up my essay by discussing the effects of representation (or misrepresentation) within films.         Representation is concerned with the way in which the world, or         some part of it, is portrayed in a media product         (Advanced Studies in Media- pg. 12) The media product in this case is a film, a Hollywood blockbuster seen by millions of people over the world. To be less affected by the media we need to realise that what we watch is only one viewpoint.         What we need to ask is who is representing the world to us? Whose         viewpoint are we watching? What is their aim? Who is their audience?         And what secondary viewpoints are there available to us?         (Representation booklet pg. 7) To sum up this essay, I think representation is useful because it allows people to identify with characters, th erefore becoming more involved in the film. On the other hand, I think it can be misused as I feel it has been in Titanic. I think it is important that directors making films based on real events conduct research and make sure they are transition events accurately. They need to understand that although it is entertainment it can affect people. They also have to realise that due to media imperialism, their films are going to be seen by different people from different cultures. Therefore, racism, like that seen in the ideologies of Titanic, is an issue that they have to consider if they want to appeal to a wide audience and avoid criticism. Bibliography 1. David M.Lubin : Titanic (BFI Modern Classics, 1999) 2. Joe Nicholas and thaumaturgy Price : Advanced Studies in Media (Nelson,1998) 3. Caroline Westbrook : Ban This insane Film (Empire, August 2000) 4. Micheal Dobbs: How could Titanic sink to such anti-English racism? (The Mail on Sunday, 01/02/98) 5. Louise Chater: Represe ntation (Film Education) 6. Peter Haran: Epic Enthral! s (The Sunday Mail,21/12/97) Filmography 1. Jonathan Mostow : U-571 (Universal Pictures, 2000) 2. Steven Spielberg: Saving Private Ryan (Paramount Pictures, 1998) 3. pile Cameron: Aliens (20th Century Fox, 1986) 4. throng Cameron: True Lies (20th Century Fox, 1994) 5. James Cameron: The Terminator (Home Box Office, 1984) 6. William Hyler: Ben Hur (Metro-Goldwyn-Mayer, 1959) Stills taken from http://www.titanicmovie.com If you want to get a full essay, order it on our website:
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