Cinema and ideology blog posting

Cinemaand ideology blog posting


Homophobes,gynophobes, and other themes have greatly been used in Spike Leefilms. Bamboozled can be understood by reference to the history ofthe blackface and other racial visual culture as a way of &quotracialkitsch,&quot and a method of &quotoppositional curating&quot thataims to determine and implement racism in a critical manner. The filmis very interesting as it uses the frameworks of &quotauthenticityand paradox&quot to illustrate ways in which Lee undermines thenotions of the black people`s progress in the 21st century withinreal-lived and visual culture actualities. The bamboozled is atextual movie that employs allusion, quotation, and homage todetermine the shared national ordeal of racism and its continuingeconomic, political and social impacts (McGlowan, 72). In Bamboozled,the frustrated back-American television presenter establishes asatirical minstrel show known as Mantan with the hope of being fired.To the surprise of many, the show becomes successful, and the moviebecomes almost as fashionable among different audiences of differentethnicities and races. The movie was able to provoke me in such a waythat it only encourages racial discrimination. The black-Americanssuffer in the hands of the whites as they are discriminated by thewhite-Americans. The main theme that can be derived from the movie isthe theme of racial discrimination. Another theme that can beobtained from the movie is about cultural difference. The blackfaceis used metaphorically and literally to illustrate the state ofblack-Americans` representation and cultural difference that existbetween the white-Americans and the blacks. The black-Americans areviewed as inferior individuals in the movie yet they have the samecapabilities as the white when given the same opportunities (Legge,83).


TheGhost Dog and the Wire are two different modes that have been used into tell different kinds of stories. Despite them using the samegenre, the models that have been used to address unjust socialinjustices and urban economic segregation are different. Both the twomovies address the cases of social injustices in the modern andpostmodern time. Despite their differences in genre, the two moviesdeals with the themes of love, drugs, friendship, children, death,crime, the political system, gender, urban studies and the schoolsystem in United States. The movies are interesting because of thevaried use of characterization of black-Americans and to some largeextent gay characters (Kehret, 54)

The Wire and Ghost Dog illustrates some human companionship. Thedifference that exist between the Ghost Dog and the Wire is that theGhost Dog does not talk about gays which is much addressed in theWire. The movies lend some absurdist humor through the use ofanimated images to make them appear as interesting as possible. TheWire does not impose the characters to depression and violence as inthe case of the Ghost Dog. The Wire serves a dual function of openingthe eyes of the upper-class Americans to the challenges that plaguetheir urban centers, and assist them to identify the individuals thatare considered as addicted, lazy or very stupid in the society. Anyviewer will echo the sentiments of understanding, connection and thejoy of the movies that arise to being attached to women and men,cops, addicts, health workers, drug dealers and politicians of TheWire (Vest, 78).


Inthe Royal Tenenbaum, the colors used by the author are extremelyconsistent as they use mostly warm tones. The use of warm tones arenot only used in Margot`s red shirt or the Richie`s suit but also inthe lampshades, the couch and the walls (Leblanc, 91). The authorconsiders all aspects of this shot-accessories, costumes, scenery andprops when selecting the color to use. To add some small contrast toa primarily warm shot, the author adds a blue color to the stainedglass windows, illustrating the blue color in Richie`s sweatband andcollar. The author is very careful not to overwhelm his audience inone particular color, but he makes use of three or more colors tocreate a pleasant picture. Contrasting the image of Richie andMargot, the author decides to make use of cool tones, such as thewhites of the shaving cream, the blue color of the swimming pool, theteal of the lockers among many other colors. The question thatcontinue to ring in the minds of the readers concerns what intentionthe author had in portraying the characters among other colorfullyconsistent, balanced and pleasant shots. The use of cool colors suchas green, blue and gray tend to indicate aloofness, tranquility andserenity and warm colors such as orange, red and yellow tend tosuggest stimulation, aggressiveness, and violence. If we take theconcepts above and apply them to this movie, we can observe theintention behind the author`s color schemes. Foreshadowing the imageof Richie and Margot, in the context of the film, we can realize thatthe characters are at conflict with their estranged father (Anderson,52).


Frederick Jameson is more concerned about the way the postmodern artlack the critical, subversive function that is in the modern art.According to Jameson, Modernism is a kind of oppositional art. It isnot clear whether postmodernism came in as a radical political orsocial movement. By destroying the difference between low and highart, postmodern culture is capable of integrating itself into themass capitalist culture (Browning, 25). The author linkspostmodernism to schizophrenia and then postmodernism to consumercapitalism. The confusion that arise from the text destroys thelikelihood of very critical perspectives such as the ones that arefound in modernist traditions. Basing on most of the theories ofpostmodern, postmodernism is slightly different. The majority of thepostmodern theorists have the idea that the loss of unified totalityis a good thing. They imagine that the unity that exist in the modernor premodern individuals claim to have encountered was simply a mereillusion. They think that it was an imagination people created toassist them deny the truth. Some postmodern theorists argue against aform of totality they refer to as &quotmaster narrative.&quot Thisrefers to any story that we narrate to ourselves to make some kind ofsense out of reality. According to modernity, individuals aresupposed to have a common sense of they are as people a singleidentity and an integrated personality. It teaches people that thereshould be some unifying aspect holding together the moments of theirexperience (Buchanan, 61).


Rumsfeld was the youngest defense secretary in the Iraq war. Theauthor of this documentary survived a coup at one given point whileserving his career as defense secretary (Jameson, 26). The truthabout him is that he had a small group of individuals that surroundedhim, and they got some reputation among the citizens who had beenthere as civil servants for many years. In 2003, he traveled in themiddle of the group while on the war mission. Rumsfeld states thatthere are some things that we are familiar with, and there are thosethat are not familiar with them. Nobody knows the ones that are knownto us, and if someone looks throughout the history of their countryand other free countries, it is the latter individuals that tend tobe difficult to handle. Some few individuals in the current societyremember that Donald Rumsfeld was apparently responding toMiklaszewski`s request for evidence (Frerks, and Berma, 20) The truthis that it was difficult to determine the evidence against Iraq andRumsfeld used answers to answer the questions that he was asked. Theauthor is very brilliant as he cited reports where other individualsthought it was difficult for them (Frerks, 78).According to DonaldRumsfeld, he was aware of several pieces of evidence involving Iraqin most of the subjects but he stated that it was not his role tomake a rational judgment on the issues. This leads to the theme ofrational judgments. The author b rings about the theme of rationaljudgment as he was able to make decisions rationally without jumpingto conclusion s. Every decision made was arrived at after determiningthe repercussions involved.


Kehret,Peg. Ghost dog secrets. New York: Puffin Books, 2011. Print.

Vest,Jason P. The Wire, Deadwood, Homicide, and NYPD Blue violence ispower. Santa Barbara, Calif: Praeger, 2011. Print.

McGlowan,Angela. Bamboozled how Americans are being exploited by the lies ofthe Liberal agenda. Nashville, Tenn: Thomas Nelson, 2007. Print.

Legge,David. Bamboozled. New York: Scholastic, 1994. Print.

Leblanc,Phyllis. Not just the levees broke: my story during and afterHurricane Katrina. New York, NY: Atria Books, 2008. Print.

Anderson,Wes, and Owen Wilson. The Royal Tenenbaums. London: Faber and Faber,2001. Print.

Browning,Mark. Wes Anderson why his movies matter. Santa Barbara, Calif:Praeger, 2011. Print.

Buchanan,Ian. Fredric Jameson lives theory. London New York: Continuum, 2006.Print.

Jameson,Fredric. A singular modernity: essay on the ontology of the present.London New York: Verso, 2002. Print.

Frerks,Georg, and Berma K. Goldewijk. Human security and internationalinsecurity. Wageningen, The Netherlands: Wageningen AcademicPublishers, 2007. Print.

Cinema and ideology blog posting

Cinemaand ideology blog posting

Assignment 1: Spike Lee and Ideology

Bamboozled film indeed depicts an ill American society that has notyet emancipated itself from racism, hatred and inequality chainsdespite economic progress. The irony and satire wrapped up in thefilm serves its purpose in projecting the in-human treatmentorchestrated by the white race. The plot, scenes, cinematic featuresand caste in the film presents one appalling exhibition of provoking,troubling and enraging moments of racial hatred. One moment thatreally enraged and charged me is when the CNS boss Dunwitty (MichaelRapaport), rhetorically cajoles one black media personnel namedDelacroix for his television series that portray black people in thepositive light.

As the white boss at CNS reprimands Delacroix, Dunwitty (MichaelRapaport) repeatedly use a racist slang ‘nigger’ and goes aheadto rhetorically state that ‘he is more black than Delacroix and canuse nigger since he is married to a black woman and hascolored children.’ I find this moment absurd, hypocritical and fullof extreme hatred. It is evidence that the white boss does not thinkblack people have any ‘intelligent quotient’ near that of whitepeople. It is even enraging to think that Dunwitty (MichaelRapaport) is against the representation of the minority black peoplein television series.

This film moment discussed above goes against my personal values thatsee all humans as equal beings with equally endowed intellect. Ibelieve a democratic society as the USA claims to be should neverhave social ineptness such as racism (Marcuse 123). Just like MalcolmX, I cannot identify myself with a nation that segregates, alienatesand hate other beings based on their skin color (Oliver 155). IndeedLee’s movie relate to my experience as a black American who haveendured endless racism hatred in social settings. I have been asubject of racial discrimination since I was in kindergarten, gradeschool, college and now in workplace.

The contemporary mass media does nothing than to propagate racismwhen the media firms misrepresent black people through their programsthey entrench racisms and perpetuate the ideology that ‘white aremore intelligent’ than black people (Marcuse 113). The moment ofhate slurs extended by Dunwitty (Michael Rapaport) to Delacroix goesagainst my values of social justice, equality, love and peace. Thereis nothing like social justice, fairness, democracy and equality forblack people in America! (Malcolm X speech).

The film produced by Lee is aimed to comment on social injustice,media underrepresentation of black people and social, economical andpolitical racial discrimination. I feel the ideology presented by Leeis similar to mine since I believe that we urgently need urgentsocial reforms. Racism will kill the least value of democracy the‘white race’ thinks we have as an American nation (Oliver 185).

Assignment 2: Realism and Surrealism

Comparing the Ghost dog: the way of samurai &amp the wireseason 1

Representation of violence in the two films

In the film, ‘the Ghost dog: the way of samurai’ one moment inthe film shows revolving murders where the ‘ghost dog’ is hiredby Louie to kill his mafia boss Vargo (Hennery Silva). However, Vargoseems to realize the scheme to assassinate him and with anotheraccomplice plans to kill Ghost dog. In the film ‘The Wire’ amoment is shown where one character is murdered by his childhoodfriend on orders from his uncle (Stringer). After several attempts toarrest Stringer, police have little success and Stringer escapesmurder prosecution. Interestingly the police superiors are sucked inthe crime and somehow protect the head of the criminal gang.

The meaning of the two films

The two films depict a society that is deeply sucked in crime, socialinjustice and self-destruction. The moments of violence explainedabove depicts aspects of betrayal, mistrust and hatred thatcharacterizes modern societies. The scenes show that the lesserbeings are violently murdered to save the ‘big’ fish. The twomovies elicit troubling, provocative and enraging emotions. In part,the two films symbolically depict the status of the modern societywhere the powerful use their positions to buy justice and oppress theweak. In addition, the two films (Ghost dog: the way of samurai &ampthe wire season 1) depicts a society that has less concern for socialjustice, a society characterized by betrayals, crime and mistrust.Even the powerful gang leader as shown in the ‘Ghost dog: the wayof samurai &amp the wire season 1’ are wary of their fellow juniormembers.

The two films are meant for the audience especially the politicalsystem and the general society in illustrating how unjust the modernsociety is. The two films carry great ideological underpinnings byexposing the lot in the criminal justice, judiciary and thegovernment no institution guranntees the public fair deal (Oliver135). The overall ideological perspective projected by the two filmsis social injustice, inequality and heightened oppression of theweak. The films are aimed to remind the general society and thegovernment the need to fight social injustice in all social,political and economic institutions. Lastly, the films appear toproject the inference that it is only through social dialogue, equalparticipation and communication that will promote social justice.

Assignment 3: Form: Bamboozled Film

The Bamboozled Film is great example on how the film director usedform to reconcile and re-appropriate the black race stereotypespresence in the film. In the film, Lee presents all stereotypicalaspects directed to black people through moments of racial slurs likeit is the case when Dunwitty cajoles and reprimands Delacroix for hisrace identity. The language used for characters by Lee is aimed toexpose the ineptness of the white masses when dealing with blackpeople. In addition, the actors adorned blackface masks and makeupostensibly to illustrate offensive black racism jokes. The Bamboozledmusic reflects the black race distaste against black racediscrimination (Richard 132).

The film plot is also well set to indicate the ‘fall-out’ betweenthe black and white race Delacroix convinces actors to use blackface makeup and when they disagree, some actors perform without masksostensibly as a form of ‘rebellion’ against ‘exploitation.’The scenes are ‘dark’ and conversations between characters ladenwith racial stereotypes as made by the white ace against the blackpeople. In this sense, the Bamboozled film projects a form that issimilar to the theme or racial prejudice (Richard 145).

The form in the Bamboozled film is related to the theme and ideologyof the film “Elements of Cinema: A guide to fundamentals offilmmaking.” In apart, the narrative, costumes, sound and settingdepict the element of black race discrimination and hatred by thewhites “Elements of Cinema: A guide to fundamentals of filmmaking.”The film’ form helps in understanding the ideology and theme aimedby the director. If the black masks costumes were left out, the filmwould have less inference on black race discrimination. The use ofracial stereotype, setting, scene color and black masks helps theaudience to connect with the film’s theme.

Assignment 4: Interpreting the Mass Media

The modern mass media is nothing but means through which culturalhegemony, capitalism and oppression of the weak takes place. KarlMarx argued that the mass media is an instrument of the capitalist toperpetuate their oppression against the weak. In Louis Althusser textI agree with his assertion that the mass media are nothing but theinstruments of the powerful to perpetuate their hegemony andprivilege (Steven and Keller 111). Mass media is used as a structure,channel and means through which ideological perspectives of thepowerful are propagated. This is true because most media institutionsperpetuate and represents the cultural hegemony and ideologies of thepower class in the society. For instance, the underrepresentation ifthe black in the mass media signifies the deliberate attempts toportray the whites as more endowed and intelligent than the blackrace.

Althusser (2005) observed that the mass media are instruments used bythe powerful to dominate and impose their will on the weak. Althusser(2005) essay makes references to cultural texts such as Karl Marx ofthe infamous capitalism harmony theory to portray the similarity onhow the postmodern mass media is used to perpetuate the ideologies ofthe powerful people in the society. Althusser (2005) perspective onmass media was directed to the postmodernism society. Today, the massmedia represent and perpetuate aspects of the dominant culture suchas the rich, ‘white,’ and the ruling class.

The postmodern mass media is less concerned with the minority or theoppressed. I agree Althusser (2005) perspective that modern mass arenothing but instruments of the rich, the dominant culture and theruling junta. It is not surprising that social injustices such asracial hatred and oppression of the weak are shunned as well asfanned by the mass media (Wood 400). Evidence of racial slurs made byprominent mass media personalities is countless and the societyshould worry and care more. The post modern mass media is slowlyfacilitating the disintegration of world societies.

Assignment 5: Truth and Lie in Documentary Film

Collateral Murder or Lessons of Darkness

I agree that the camera reveals more than a human eye would when usedpositively to capture reality. However, this is the case if thefilm’s operative idea is to tell the truth, be real and projecthonesty. In the Collateral Murder or Lessons of Darknessthe film reveals genocide of innocent and non-combatants Iraqis.The film reveals the truth about the systematic killings and thoughprojected in small scale, the film is an indication of morewidespread killings. The scene shots in the documentary film showsunwarranted killing of innocent people even when the gun wieldingpersonnel could make clear identification of the target. However, thecamera made the target subjects appear as they were holding guns orrocket launchers leading to their killing. In this case, the cameralies and leads to unwarranted killings.

A closer assessment of one scene in the Collateral Murder orLessons of Darkness film, reveals that a target is seenholding something that looks like a rocket launcher but one can seethat it is a mere tripod stand possibly for camera. This myopic andcamera ‘lie’ led to mass killings of innocent people as indicatedin the Collateral Murder or Lessons of Darkness (Sontag87). The overall idea in the film is to reveal the deceptiveand dishonesty aspect about the camera’s ability to capture truth(Sontag 57). The Collateral Murder or Lessons of Darknessdocumentary provides candidate elaboration on how the militarychoppers camera led to deceptive images that in turn led to masskillings of innocent people. The reality exposed by the documentaryfilm with regard to how camera ‘deceives’ affirms the widelypropagated statement that USA could have engaged in genocide in Iraq(Butler 121). The film helps to shed more light on this genocideallegation and indeed proves that many innocent civilians could havebeen killed in Iraq war.

Works Cited

Althusser, L. &quotIdeology and ideological state apparatuses.&quotEds. J. Rivkin &amp M. Ryan. Literary theory: An anthology.Malden: Blackwell Publishers, 1998. pp. 294-304.

Butler Judith. “Frames of War: When is Life Grievable?” US:Verso. 2010. Print.

“Elements of Cinema: A guide to fundamentals of filmmaking.”Accessed from

Malcolm X – Harlem Address: Link – &quotI`mmad as hell, and I`m not going to take it anymore!&quot

Marcuse, Herbert. ‘Repressive Tolerance.’ In A Critique of PureTolerance, edited by Robert Paul Wolff, Barrington Moore, Jr., andHerbert Marcuse, (1965). 95–137. Boston, MA: Beacon Press.

Oliver Cox, Caste, Class &amp Race. New York: Doubleday,1948. Print.

Richard Rickitt: Special Effects: The History and Technique.Billboard Books 2nd edition, 2007. Print.

Sontag, Susan. “Regarding the Pain of Others.” US: Picador. 2004.Print.

Steven Best and Douglas Kellner, &quot(Re) Watching Television: TheLimitations of Post-Modernism,&quot Diacritics (Summer 1987):97-113.

Wood, B. &quotStuart Hall`s cultural studies and the problem ofhegemony.&quot British Journal of Sociology 49, 3 (1998):399-414.