hi, i have to write 3000 words on how all films are carriers of cultural identity and ideology. i need help!! the cultural identity part is mainly just national identity right??? iv wrote about 800 words but its not in any real order, im not sure where to start! help!
uni film essay, how all films are carriers of cultural identity & ideology
Well, you could start by posting those 800 words. Beyond that, cultural identity doesn't have to be national identity, though it could be. For instance, most films contain a mixture of men and women from different cultural backgrounds. The way they are portrayed, both as men and women, as well as as black, white, Asian, Native, etc. promulgate certain cultural values. At the same time, most films have some sort of message, theme, or point that can be viewed as promoting some form of ideology.
thts great thanks, this is what i have so far, its seriously the roughest of first drafts though...
The majority of films in all categories are the unconscious instruments of the ideologies, which produce them.
Is this statement a fact or simply just an idea brought forward by certain film theorists and audiences? To decide whether all films actually are carriers of cultural identity and ideology, it becomes essential to look at a range of films from different countries and cultures, films that support opposite political poles and differ in their views of sexual and religious ideas, and most importantly the historical content of the films in question.
Every country has a different culture and a different way of living, and each country therefore views cultures that are foreign to their own in a different way. Because of this simple fact, movies can be and are perceived differently depending on the audience viewing it. For example, in Japanese culture, it is seen as rude and disrespectful to make eye contact with another person while they are engaged in conversation. However in American and British culture, the lack of eye contact during a conversation is looked upon as a lack of social skills and basic manners. If portrayed in film, a Japanese audience would see this simple act, or lack of it, differently to an American audience.
Every country and its people are looked upon in certain ways throughout film history. For example, the British have, for many years been seen as stiff upper lipped gentlemen and women who are patriarchal and serious. This national identity proves to be how many people, from Britain and abroad would describe the British:
A recent study surveyed groups of forty to fifty students in their first year of university or the last year in secondary school in England, France, Germany, Italy, Austria, Finland, Greece and the Philippines. They were asked to mark various nationalities on a range of characteristics. The British came out as reserved, practical, peaceful, serious, calm, skeptical and self-controlled.
The character of certain nationalities and the cultural identity of countries will change in film throughout history depending on the countries state at the time the film was made. Because of this it could be argued that films are not in fact carriers of cultural identity, but are actually just mirror images of what the ideologies of the country are at the time. For example:
American films made during the Depression in the 1930s reflect many of the left-wing values of Roosevelt's New Deal. During the turbulent Vietnam - Watergate era (roughly from 1965 to 1975), the American cinema became increasingly violent, confrontational and antiauthoritarian. During the Reagan era of the 1980s American movies turned to the right, like the American society in general. Many movies made during that period emphasize military supremacy, competition, power, and wealth.
British films are a large portrayer of cultural identity. Because of the history of great play writes and live theater, Britain has always had a strong literary heritage and this, therefore comes across in the films it produces, many being adaptations of the works of the most famous British play write, William Shakespeare, or historical dramas. For example, Alexander Korda's The Private Life of Henry VIII. Counteracting the lavish costumes and perfect scripts of these theatrical adaptations, is the counterculture of regional films made throughout England. These films usually contain unknown actors with strong regional dialects, playing working-class characters and these films almost always contain strong antiestablishment ideology; for example, The Full Monty and Purely Belta.
Films that support opposite political poles are also carriers of cultural and national identity. For example, Sergei Eisensteins film October (Ten Days That Shook Earth) is a celebration of the Russian Revolution of 1917 and is very left wing in it's political standing.
even though these are my own words, when the uni checks for plagerism it wont come up positive for being posted on this site will it?
The majority of films in all categories are the unconscious instruments of the ideologies, which produce them.
Is this statement a fact or simply just an idea brought forward by certain film theorists and audiences? To decide whether all films actually are carriers of cultural identity and ideology, it becomes essential to look at a range of films from different countries and cultures, films that support opposite political poles and differ in their views of sexual and religious ideas, and most importantly the historical content of the films in question.
Every country has a different culture and a different way of living, and each country therefore views cultures that are foreign to their own in a different way. Because of this simple fact, movies can be and are perceived differently depending on the audience viewing it. For example, in Japanese culture, it is seen as rude and disrespectful to make eye contact with another person while they are engaged in conversation. However in American and British culture, the lack of eye contact during a conversation is looked upon as a lack of social skills and basic manners. If portrayed in film, a Japanese audience would see this simple act, or lack of it, differently to an American audience.
Every country and its people are looked upon in certain ways throughout film history. For example, the British have, for many years been seen as stiff upper lipped gentlemen and women who are patriarchal and serious. This national identity proves to be how many people, from Britain and abroad would describe the British:
A recent study surveyed groups of forty to fifty students in their first year of university or the last year in secondary school in England, France, Germany, Italy, Austria, Finland, Greece and the Philippines. They were asked to mark various nationalities on a range of characteristics. The British came out as reserved, practical, peaceful, serious, calm, skeptical and self-controlled.
The character of certain nationalities and the cultural identity of countries will change in film throughout history depending on the countries state at the time the film was made. Because of this it could be argued that films are not in fact carriers of cultural identity, but are actually just mirror images of what the ideologies of the country are at the time. For example:
American films made during the Depression in the 1930s reflect many of the left-wing values of Roosevelt's New Deal. During the turbulent Vietnam - Watergate era (roughly from 1965 to 1975), the American cinema became increasingly violent, confrontational and antiauthoritarian. During the Reagan era of the 1980s American movies turned to the right, like the American society in general. Many movies made during that period emphasize military supremacy, competition, power, and wealth.
British films are a large portrayer of cultural identity. Because of the history of great play writes and live theater, Britain has always had a strong literary heritage and this, therefore comes across in the films it produces, many being adaptations of the works of the most famous British play write, William Shakespeare, or historical dramas. For example, Alexander Korda's The Private Life of Henry VIII. Counteracting the lavish costumes and perfect scripts of these theatrical adaptations, is the counterculture of regional films made throughout England. These films usually contain unknown actors with strong regional dialects, playing working-class characters and these films almost always contain strong antiestablishment ideology; for example, The Full Monty and Purely Belta.
Films that support opposite political poles are also carriers of cultural and national identity. For example, Sergei Eisensteins film October (Ten Days That Shook Earth) is a celebration of the Russian Revolution of 1917 and is very left wing in it's political standing.
even though these are my own words, when the uni checks for plagerism it wont come up positive for being posted on this site will it?
In your introduction, you talk about how important it is to view a variety of films, but then list only those films that are most likely to reflect deliberate attempts to convey cultural or ideological messages. You should probably include films that are meant purely for entertainment, Hollywood blockbusters aimed primarily at making money. Most people don't view Dark Knight, for example, as a propaganda piece. If, however, you can find cultural and ideological messages in such a film (Hint: you definitely can), then your argument becomes much stronger.
In the body, there is a distinct lack of specific examples. You should not only mention movies from each era that prove your point, you should reference specific scenes that function in ideological or cultural ways. This would really help you flesh out the essay into something closer to the length you need it to be.
As to coming up for plagiarism, I would guess not. If you try pasting some of the essay into Google, this page isn't listed in its search results, for instance. On the other hand, I'm not an expert on the workings of anti-plagiarism software, so perhaps one of the moderators could give you a more definitive response.
In the body, there is a distinct lack of specific examples. You should not only mention movies from each era that prove your point, you should reference specific scenes that function in ideological or cultural ways. This would really help you flesh out the essay into something closer to the length you need it to be.
As to coming up for plagiarism, I would guess not. If you try pasting some of the essay into Google, this page isn't listed in its search results, for instance. On the other hand, I'm not an expert on the workings of anti-plagiarism software, so perhaps one of the moderators could give you a more definitive response.
As to coming up for plagiarism, I would guess not. If you try pasting some of the essay into Google, this page isn't listed in its search results, for instance. On the other hand, I'm not an expert on the workings of anti-plagiarism software, so perhaps one of the moderators could give you a more definitive response.
Actually, it is important to note that the content WILL come up in search results, but that it is this page that people would find, so anyone checking into it will see your name associated with the essay. That is why we ask people to use their full names when they get memberships. About plagiarism checkers, I have never heard of anyone getting accused of plagiarism because of having their work posted here. If an issue arises, you can refer the accuser to this site where your essay is shown right next to your name.
About cultural identities expressed through film, I think it is going to be very useful for you if you come up with a LIST of good cultural films. From this list, you can set about writing various sections of your long essay.
When you get a list of examples of cultures being expressed through film, you can divide it into a few categories. Think of this as 4 papers instead of 1.
Many interesting themes emerge. For example, in old American Westerns, Native Americans are made to look like savages, but now films like Powwow Highway are portraying Native Americans in a more positive light. I know that a book by D. Champagne called Contemporary Native American Cultural Issues has a section on film. You can read that book online as a google document.
Other cultures shown through interesting films, too. It is a great excuse to watch some movies.
Good luck with this long paper!!
In software that my college professors used to check for plagiarism, the software checked every available resource online. This software, called TurnItIn.com, found similarities between my paper and an alumni website for Berry College Laboratory School. My name, address, and telephone number were on both in the same order. It red-flagged the information, but my teacher saw that it was my information and discarded it So, the probability of this page being found is pretty good, depending on the software; however, your reader will see that the writer is you! It helps that your handle on here is rachaeljennifer...at least I hope that is your real name?!?!?!:)
Here are a few free online plagiarism resources for students.
essayscam.org/forum/gt/plagiarism-consequences-tips-students-4866/
essayads.com/papers/study-plagiarism
essaybrand.com/research/dodging-plagiarism-scanner-outsmart-word-detection-68/
essay rater --------------THIS LOOKS LIKE A REALLY GOOD ONE!
writecheck.turnitin ------THIS IS BY THE COMPANY MY PROFESSORS USED!
copyscape ----- I HAVE THIS USED ON ME OFTEN FOR CHECKING MY ARTICLES ORIGINALITY.
Here are a few free online plagiarism resources for students.
essayscam.org/forum/gt/plagiarism-consequences-tips-students-4866/
essayads.com/papers/study-plagiarism
essaybrand.com/research/dodging-plagiarism-scanner-outsmart-word-detection-68/
essay rater --------------THIS LOOKS LIKE A REALLY GOOD ONE!
writecheck.turnitin ------THIS IS BY THE COMPANY MY PROFESSORS USED!
copyscape ----- I HAVE THIS USED ON ME OFTEN FOR CHECKING MY ARTICLES ORIGINALITY.
Ah. I thought the page would not show up on Google because it didn't appear when I tried pasting in a random sample from your essay. Apparently that was an atypical result. Sorry about that. Glad the other members of the ef_Team were on this one.
he majority of films in all categories are the unconscious instruments of the ideologies, which produce them.
Is this your Introductory sentence? then expand on it. Cite some references as to how and why this conclusion has been drawn. Why does it matter if they are unconscious instruments.
Is this statement a fact or simply just an idea brought forward by certain film theorists and audiences?
Who are these certain film theorists and audiences? What are they saying~ show the reader the evidence from which you are drawing your conclusions. Why does it matter if the statement is fact or opinion?
At the end of your first paragraph would be a good time to let the reader know what they are going to read later in the essay. e.g., This paper will critically discuss ...[what?].... to demonstrate that all films .... First, .... will be presented Second,... will be highlighted. Next, ... will be noted. Finally, a conclusion shall synthesise the main points of this paper and illistrate the importance of this critical discussion to ....[field of study/community issue].
Your Introduction for a 3000 word essay needs to be at least one page, or 250w; your Conclusion will be about this length as well. That leaves 2500 words for the body. Divide the body into themes~e.g., Historical epochs (833 w), Cross-cultural research (833 w), and Specific directors/playwrights (833 w).
I would not worry about plagerism in this case. What I see is a first draft, if you follow the formula I have given, and use the insights others have shared here you will end up with an oringial document that is differnt in many ways to this draft.
Hope this helps, let me know how it goes.
Remember to cite your sources!