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A STUDY OF THE FILM IN THE NAME OF
LOVE USING MARXIST, FEMINIST AND
POST-COLONIAL CRITICAL LENSES
Bigay, Charmaine June B....
INTRODUCTION
Films are among the forms of media that are rich in
text that can be read. By text in film, we do not just
si...
Usually, people agree to what the producer offers in
front of them through different forms of media such as
films and tele...
But actually, there are different ways to read text.
In this research, the researchers will read the text from the
Filipin...
IN THE NAME OF LOVE
MOVIE TRAILER
STATEMENT OF THE PROBLEM
What are the texts in the film, In the Name of
Love, that can be analyzed using Marxist lens,
Fem...
OBJECTIVES
In this study, the researchers aimed to analyze
the text of the film, In the Name of Love,
using:
•Marxist lens...
SCOPE AND LIMITATION
The analysis of the study will solely focus on the film text,
specifically the dialogues, scenes, and...
SIGNIFICANCE OF THE STUDY
•The researchers hope to read and analyze the text of the
film through Marxist lens, Feminist le...
•To the filmmakers, this study could be a ground for
improvement on the formation of films particularly in
the Philippines...
•This study will also be significant to the future
researchers as it will open the idea of studying the text
of a film fro...
SYNTHESIS OF REVIEW OF
RELATED LITERATURE
The researchers discerned that the studies related to this
research only used ei...
Even Lois Tyson’s book entitled Critical Theory Today:
A User-Friendly Guide (2006), though used multiple critical
theorie...
With these observations, the researchers attempt to fill these gaps
by utilizing three critical theories: Marxism, Feminis...
THEORETICAL FRAMEWORK
For this study, the researchers used Stuart Hall’s Communication
Model Encoding-Decoding. Stuart Hal...
Hall argued that there were three interpretative codes or
positions that a reader might bring to a text:
• Dominant readin...
• Using the Oppositional Reading the researchers also used
different critical lenses: Marxist, Feminist and Post-colonial
...
• FEMINISM
According to Lord, Greiter and Tursunovic, Feminist Theory is
an outgrowth of the general movement to empower w...
This conceptual framework shows that with
the use of Stuart Hall’s Decoding and
Encoding Communication Theory, focusing
on...
RESULTS AND DISCUSSION
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
SCENE 63
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
SCENE 68
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
PRESENCE OF HIERARCHICAL CLASS SYSTEM
MARXIST
ELITE DOMINATION IN THE MEANS OF PRODUCTION
(THAT IS: LABOR, FACTORIES, AN LAND)
SCENE 16
MARXIST
ELITE DOMINATION IN THE MEANS OF PRODUCTION
(THAT IS: LABOR, FACTORIES, AN LAND)
SCENE 76
MARXIST
ELITE DOMINATION IN THE MEANS OF PRODUCTION
(THAT IS: LABOR, FACTORIES, AN LAND)
FEMINIST
DECISION-MAKING
SCENE 16
FEMINIST
DECISION-MAKING
SCENE 17
FEMINIST
DECISION-MAKING
FEMINIST
DECISION-MAKING
FEMINIST
DECISION-MAKING
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
SCENE 13
SCENE 47
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
FEMINIST
OBJECTIFICATION AND EXPLOITATION OF WOMEN
SCENE 23
FEMINIST
EQUAL OPPORTUNITY AND NON-DISCRIMINATION
SCENE 31
FEMINIST
EQUAL OPPORTUNITY AND NON-DISCRIMINATION
FEMINIST
EQUAL OPPORTUNITY AND NON-DISCRIMINATION
FEMINIST
EQUAL OPPORTUNITY AND NON-DISCRIMINATION
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
POST-COLONIAL
CONFLICTS OF IDENTITY AND CULTURAL BELONGING
WITHIN THE FORMER COLONIAL COUNTRIES
SCENE 40
POST-COLONIAL
HYBRIDITY (LANGUAGE)
SCENE 32
POST-COLONIAL
HYBRIDITY (LANGUAGE)
POST-COLONIAL
HYBRIDITY (LANGUAGE)
POST-COLONIAL
DIASPORA
SCENE 40
POST-COLONIAL
DIASPORA
SCENE 10
POST-COLONIAL
DIASPORA
SUMMARY, CONCLUSION
AND RECOMMENDATION
SUMMARY
“A Study of the Film In the Name of Love Using Marxist, Feminist,
and Post-Colonial Critical Lenses” is a qualitat...
After reviewing previous related studies and literatures, the
researchers found indicators that helped them in identifying...
These texts were coded in the coding sheet and was validated by
the intercoders who are professionals and experts when it ...
CONCLUSION
With this study, the researchers have proven that the text,
which are the scenes, dialogues and the characters,...
CONCLUSION
MARXISM
For Marxism, scenes, dialogues, and/or characters belonging to
the indicators presence of hierarchal cl...
CONCLUSION
FEMINISM
For Feminism, all indicators appeared in the film:
Economic Participation, Decision-Making, Objectific...
CONCLUSION
FEMINISM
Post-colonial criticism is concerned with the effects of
colonialism on cultures and societies. In the...
CONCLUSION
All three theories – Marxism, Feminism, and Post-colonialism
were theories that have something to do with power...
RECOMMENDATION
• future studies may also read the film In the Name of Love in a
different critical lens.
• use a different...
• the researchers also suggest for future studies to textual
analyze a TV Commercial, a teleserye, or a news show as their...
• To the present and future filmmakers, the researchers
recommend that they may create films with more in-depth
texts or c...
A STUDY OF THE FILM IN THE NAME OF
LOVE USING MARXIST, FEMINIST AND
POST-COLONIAL CRITICAL LENSES
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A study of the film itnol using mfp critical lenses (cc)

  1. 1. A STUDY OF THE FILM IN THE NAME OF LOVE USING MARXIST, FEMINIST AND POST-COLONIAL CRITICAL LENSES Bigay, Charmaine June B. Pelobello, Patricia V. Torres, Beatriz B.
  2. 2. INTRODUCTION Films are among the forms of media that are rich in text that can be read. By text in film, we do not just simply mean the written script of a movie. Songs, novels, conversations, pictures, movies, etc. are all considered texts.
  3. 3. Usually, people agree to what the producer offers in front of them through different forms of media such as films and television shows. When consumers encounter messages and make sense of them within the hegemony of dominant code, they will reproduce already dominant definitions.
  4. 4. But actually, there are different ways to read text. In this research, the researchers will read the text from the Filipino film, In the Name of Love, using Stuart Hall’s Encoding- Decoding model of communication that has different positions in which audiences take in order to decode the meanings within cultural texts. The researchers support the claim that not all media portrayal should be accepted by the audience. That is why particularly, this study will delve into the oppositional view and they will use the critical lenses – Marxism, Feminism, and Post-colonialism to understand and analyze the film, In the Name of Love.
  5. 5. IN THE NAME OF LOVE MOVIE TRAILER
  6. 6. STATEMENT OF THE PROBLEM What are the texts in the film, In the Name of Love, that can be analyzed using Marxist lens, Feminist lens, and Post-colonial lens?
  7. 7. OBJECTIVES In this study, the researchers aimed to analyze the text of the film, In the Name of Love, using: •Marxist lens •Feminist lens •Post-colonial lens
  8. 8. SCOPE AND LIMITATION The analysis of the study will solely focus on the film text, specifically the dialogues, scenes, and the characters in the Olivia Lamasan’s 2011 film, In the Name of Love, that portray Marxism, Feminism, or Post-colonialism. The text will be read from the oppositional view only through these three critical lenses aforementioned.
  9. 9. SIGNIFICANCE OF THE STUDY •The researchers hope to read and analyze the text of the film through Marxist lens, Feminist lens, and Post-colonial lens. With this foundation, the researches look forward to a critical and better understanding of the aforementioned film. •The researchers hope to give the film audience a different outlook on how they can view a film critically and not just rely on what is fed on them through the big screen.
  10. 10. •To the filmmakers, this study could be a ground for improvement on the formation of films particularly in the Philippines so that the content of the Filipino films may develop to be more enriched and critical. •Since film will be used as the medium in this study, this research will also add to other studies that have also embarked on the same field of research.
  11. 11. •This study will also be significant to the future researchers as it will open the idea of studying the text of a film from a different perspective such as by using critical lenses like Marxism, Feminism, and Post- colonialism. Other critical lenses can still be used to read the film text. Also, other movies aside from In the Name of Love are also viable to be read critically.
  12. 12. SYNTHESIS OF REVIEW OF RELATED LITERATURE The researchers discerned that the studies related to this research only used either a certain critical theory or Stuart Hall’s communication model as their framework. None has integrated several critical theories together with Stuart Hall’s model of communication in a particular study.
  13. 13. Even Lois Tyson’s book entitled Critical Theory Today: A User-Friendly Guide (2006), though used multiple critical theories, nonetheless did not use Stuart Hall’s Encoding-Decoding communication Model in his study. Also, the literary piece studied by Lois Tyson was a novel – The Great Gatsby (1925) – by F. Scott Fitzgerald. Since this study revolves on the 2011 film, In the Name of Love, the reading of the film text will not solely base on words but on other aspects of a film as well, especially the cinematic aspects that affect the reading.
  14. 14. With these observations, the researchers attempt to fill these gaps by utilizing three critical theories: Marxism, Feminism, and Post- colonialism using the oppositional view under Stuart Hall’s Encoding-Decoding communication model in studying and analyzing the text of a film. The film In the Name of Love – a film written, directed, and produced by Filipino filmmakers was chosen to substantiate the reading of a film text through critical lenses.
  15. 15. THEORETICAL FRAMEWORK For this study, the researchers used Stuart Hall’s Communication Model Encoding-Decoding. Stuart Hall proposed a model of encoding-decoding media discourse, which represented the media text as located between its producers, who framed meaning in a certain way, and its audience, who ‘decoded’ the meaning according to their rather different social situations and frames of interpretation.
  16. 16. Hall argued that there were three interpretative codes or positions that a reader might bring to a text: • Dominant reading “the reader fully shares the text’s code and accepts and reproduces the preffered reading” • Negotiated reading “the reader partly shares the media text’s code, but may resist and modify the reception of the code in a way that reflects their own life and personal or group contexts” But for this study the researchers only focused on the • Oppositional Reading “the reader understands the preferred reading but does not share it and may bring alternative ways of dealing with it.” (Balnaves, Donald and Shoesmith, 2008)
  17. 17. • Using the Oppositional Reading the researchers also used different critical lenses: Marxist, Feminist and Post-colonial Theory. • MARXISM “For Marxism, getting and keeping economic power is the motive behind all social and political activities, including education, philosophy, religion, government, the arts, science, technology, the media, and so on. From a Marxist perspective, differences in socioeconomic class divide people in ways that are much more significant than differences in religion, race, ethnicity, or gender.” (Tyson, 2006)
  18. 18. • FEMINISM According to Lord, Greiter and Tursunovic, Feminist Theory is an outgrowth of the general movement to empower women worldwide. Feminism can be defined as a recognition and critique of male supremacy combined with efforts to change it. • POST-COLONIALISM “Post-colonial criticism is particularly effective at helping us see connections among all the domains of our experience - psychological ideological, social, political, intellectual and aesthetic – in ways that show us just how inseparable these categories are in our lived experience of ourselves and our world.” (Tyson, 2006)
  19. 19. This conceptual framework shows that with the use of Stuart Hall’s Decoding and Encoding Communication Theory, focusing on oppositional reading, In the Name of Love has been read in different critical lenses: Marxist, Feminist and Post-Colonial Theory. CONCEPTUAL FRAMEWORK
  20. 20. RESULTS AND DISCUSSION
  21. 21. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM SCENE 63
  22. 22. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM SCENE 68
  23. 23. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  24. 24. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  25. 25. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  26. 26. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  27. 27. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  28. 28. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  29. 29. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  30. 30. MARXIST PRESENCE OF HIERARCHICAL CLASS SYSTEM
  31. 31. MARXIST ELITE DOMINATION IN THE MEANS OF PRODUCTION (THAT IS: LABOR, FACTORIES, AN LAND) SCENE 16
  32. 32. MARXIST ELITE DOMINATION IN THE MEANS OF PRODUCTION (THAT IS: LABOR, FACTORIES, AN LAND) SCENE 76
  33. 33. MARXIST ELITE DOMINATION IN THE MEANS OF PRODUCTION (THAT IS: LABOR, FACTORIES, AN LAND)
  34. 34. FEMINIST DECISION-MAKING SCENE 16
  35. 35. FEMINIST DECISION-MAKING SCENE 17
  36. 36. FEMINIST DECISION-MAKING
  37. 37. FEMINIST DECISION-MAKING
  38. 38. FEMINIST DECISION-MAKING
  39. 39. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN SCENE 13
  40. 40. SCENE 47 FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  41. 41. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  42. 42. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  43. 43. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  44. 44. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  45. 45. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  46. 46. FEMINIST OBJECTIFICATION AND EXPLOITATION OF WOMEN
  47. 47. SCENE 23 FEMINIST EQUAL OPPORTUNITY AND NON-DISCRIMINATION
  48. 48. SCENE 31 FEMINIST EQUAL OPPORTUNITY AND NON-DISCRIMINATION
  49. 49. FEMINIST EQUAL OPPORTUNITY AND NON-DISCRIMINATION
  50. 50. FEMINIST EQUAL OPPORTUNITY AND NON-DISCRIMINATION
  51. 51. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES
  52. 52. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES
  53. 53. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES
  54. 54. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES
  55. 55. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES
  56. 56. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES
  57. 57. POST-COLONIAL CONFLICTS OF IDENTITY AND CULTURAL BELONGING WITHIN THE FORMER COLONIAL COUNTRIES SCENE 40
  58. 58. POST-COLONIAL HYBRIDITY (LANGUAGE) SCENE 32
  59. 59. POST-COLONIAL HYBRIDITY (LANGUAGE)
  60. 60. POST-COLONIAL HYBRIDITY (LANGUAGE)
  61. 61. POST-COLONIAL DIASPORA SCENE 40
  62. 62. POST-COLONIAL DIASPORA SCENE 10
  63. 63. POST-COLONIAL DIASPORA
  64. 64. SUMMARY, CONCLUSION AND RECOMMENDATION
  65. 65. SUMMARY “A Study of the Film In the Name of Love Using Marxist, Feminist, and Post-Colonial Critical Lenses” is a qualitative textual analysis study aimed to read the texts in the film, In the Name of Love, through the Oppositional View of Stuart Hall’s Encoding-Decoding model of communication. Hall believed that media messages are always open to various interpretations thus having multiple meanings (Chandler, 2001). This study also wanted to analyse these texts through Marxist, Feminist and Postcolonial perspective.
  66. 66. After reviewing previous related studies and literatures, the researchers found indicators that helped them in identifying texts (dialogues, scenes and characters) in the movie that depict Marxism, Feminism and Post-colonialism. The researchers chose to study the contemporary film, In the Name of Love, in which they are interested in particularly. After a thorough and in-depth study of the film, it became evident that there are texts in the film that can be read through the Marxist, Feminist and Post-colonial perspective.
  67. 67. These texts were coded in the coding sheet and was validated by the intercoders who are professionals and experts when it comes to Marxist, Feminist and Post-colonial theory. After analyzing the coded texts, the researchers concluded that the text, which are the scenes, dialogues, and the characters, in the film In the Name of Love can actually be read through Marxist, Feminist, and Post-colonial lenses.
  68. 68. CONCLUSION With this study, the researchers have proven that the text, which are the scenes, dialogues and the characters, in the film In the Name of Love can actually be read through Marxist, Feminist, and Post-colonial lenses. Texts in the film In the Name of Love specifically the ones used in this study – scenes, dialogues, and character – were deduced to present Marxism, Feminism, and Post-colonialism.
  69. 69. CONCLUSION MARXISM For Marxism, scenes, dialogues, and/or characters belonging to the indicators presence of hierarchal class system and elite domination in the means of production (that is: labor, factories, and land) appeared in the film. However, there was one indicator that was not represented by any text in the film and that indicator is the myriad problems associated with industrialization and urbanization. It was the dialogues of the characters that obviously showed the Marxism in the film. Most scenes depicting Marxism were presented through the lines of the characters.
  70. 70. CONCLUSION FEMINISM For Feminism, all indicators appeared in the film: Economic Participation, Decision-Making, Objectification & Exploitation of Women and Equal Opportunity and Non- discrimination. The texts depicting the indicators of feminism often appears in dialogues; and the texts found are mostly showing patriarchy. Out of 17 Feminist texts found, only three shows the equality between men and women.
  71. 71. CONCLUSION FEMINISM Post-colonial criticism is concerned with the effects of colonialism on cultures and societies. In the film, In the Name of Love, several scenes were analyzed to have depicted all the indicators of Post-colonialism: Conflicts of identity and cultural belonging within the former colonial countries, Diaspora, and Hybridity. Therefore, Post-colonialism is a theory that is clearly present in the film through the various scenes, dialogues, and characters.
  72. 72. CONCLUSION All three theories – Marxism, Feminism, and Post-colonialism were theories that have something to do with power, its use and manipulation from different angles, depending on the definition and description of the theories. The texts in the film which are the scenes, dialogues, and characters are ways of presenting the theories through the film, In the Name of Love.
  73. 73. RECOMMENDATION • future studies may also read the film In the Name of Love in a different critical lens. • use a different theory or framework that can be used in analyzing the film. For example, Uses and Gratifications of Katz in 1970 can be used in order to know how the film satisfies the viewers’ hierarchy of needs or McCombs and Shaw’s Agenda Setting Theory in order to know how media, like film, influence the significance of events in the viewers’ minds.
  74. 74. • the researchers also suggest for future studies to textual analyze a TV Commercial, a teleserye, or a news show as their instrument • textual analyze the music played in the different parts of the film that served as flashback and how it beautifies the scene. And to make this study more interesting, the researchers also suggest to include the effect of music to viewers.
  75. 75. • To the present and future filmmakers, the researchers recommend that they may create films with more in-depth texts or contents that will produce better effects and points to ponder since this study has shown that a film can be oppositionally read by the viewers. • Lastly, the researchers recommend to the film audience to be more critical when watching a film.
  76. 76. A STUDY OF THE FILM IN THE NAME OF LOVE USING MARXIST, FEMINIST AND POST-COLONIAL CRITICAL LENSES
  • Muhammadahmad799

    Sep. 10, 2019
  • osricalchedius

    Jan. 11, 2019
  • tilaksinghgautam9

    May. 10, 2018
  • Sekartyas

    Nov. 24, 2017

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