The document discusses ideology and how it relates to film. It defines ideology as the beliefs, values, and ideas that shape how people think and act. It states that virtually everything involves ideological assumptions and gives examples like attitudes about sex, work, power, family, and religion. It then discusses how films can represent ideology in varying degrees from neutral, with no overt ideological statements and an emphasis on entertainment, to implicit, with inferred ideological values, to explicit films that aim to persuade viewers of a particular ideology. It also discusses how representations of gender, race, ethnicity, and sexual orientation in films have changed over time and provides some examples.

1. Ideology

2. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).

3. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:

4. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world

5. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world
Virtually everything is is ideological

6. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world
Virtually everything is is ideological, our attitudes about,

7. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world
Virtually everything is is ideological, our attitudes about,
Sex, work,

8. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world
Virtually everything is is ideological, our attitudes about,
Sex, work, power sharing, authority,

9. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world
Virtually everything is is ideological, our attitudes about,
Sex, work, power sharing, authority, family and religion

10. Since ancient times, critics have discussed art as having a
double function: to teach and to provide pleasure (Giannetti, 428).
Ideology:
Beliefs, values, ideas that shape the way we think, act,
understand the world
Virtually everything is is ideological, our attitudes about,
Sex, work, power sharing, authority, family and religion
All of these interactions involve ideological assumptions
within culture

11. “Entertainment, always functions as part of culture…as part of
an array of cultures, subcultures and counter cultures.”
www.uwec.edu.com

12. “Entertainment, always functions as part of culture…as part of
an array of cultures, subcultures and counter cultures.”
www.uwec.edu.com
All films have ideological content in varying
degrees

13. Degrees of ideological explicitness:

14. Degrees of ideological explicitness:
Neutral:

15. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements

16. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment

17. The Little Mermaid

18. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:

19. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:
-inferred statement of values

20. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:
-inferred statement of values
-most fiction films fit here

21. Pretty Woman

22. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:
-inferred statement of values
-most fiction films fit here
Explicit:

23. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:
-inferred statement of values
-most fiction films fit here
Explicit:

24. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:
-inferred statement of values
-most fiction films fit here
Explicit:
-aims to persuade the audience of a particular ideology

25. Degrees of ideological explicitness:
Neutral:
- no overt ideological statements
- emphasis on entertainment
Implicit:
-inferred statement of values
-most fiction films fit here
Explicit:
-aims to persuade the audience of a particular ideology
-patriotic films, many documentaries and political films

26. A Nazi Propaganda film

27. Ideology is another language in a film
How do characters speak through ideological subtext?

28. What attracts the audience’s sympathy?
Favorable traits include:

29. What attracts the audience’s sympathy?
Favorable traits include:
Idealism

30. What attracts the audience’s sympathy?
Favorable traits include:
Idealism
courage

31. What attracts the audience’s sympathy?
Favorable traits include:
Idealism
courage
generosity

32. What attracts the audience’s sympathy?
Favorable traits include:
Idealism
courage
generosity
loyalty

33. What attracts the audience’s sympathy?
Favorable traits include:
Idealism
courage
generosity
loyalty
kindness

34. Good looks and sex appeal
are favorable traits

35. Characters with charm, charisma, and humor
appeal to audiences

36. Characters with charm, charisma, and humor
appeal to audiences
Even in characters that display less than
idealistic behavior

37. The audience can have sympathy for the villain,
anti-hero and femme fatale even if they dislike
their actions

38. Joe Gillis in Sunset Boulevard

39. IF…

40. IF…
They have at least a few favorable characteristics

41. Negative traits, such as, selfishness, cruelty,
cowardice, dishonesty are often present in the
antagonist and or villain

42. Negative traits, such as, selfishness, cruelty,
cowardice, dishonesty are often present in the
antagonist and or villain
Unsympathetic characters are often made to look
unattractive

43. WHO
IS
THE
VILLAIN?

44. Disenfranchisement and changing ideologies

45. Ideology and Representation
How does cinema represent ideology?

46. Ideology and Representation
How does cinema represent ideology?
Why are some groups favored over others?

47. Ideology and Representation
How does cinema represent ideology?
Why are some groups favored over others?
How is this reflected in film roles and genres?

48. How have ideologies changed?

49. How have ideologies changed?
How is this reflected in film roles and genres?
How have representations gender

50. How have ideologies changed?
How is this reflected in film roles and genres?
How have representations gender, race,

51. How have ideologies changed?
How is this reflected in film roles and genres?
How have representations gender, race, ethnicity

52. How have ideologies changed?
How is this reflected in film roles and genres?
How have representations gender, race, ethnicity and
sexual orientation changed?

53. African American Representation in Cinema

54. African American Representation in Cinema
1st 50 years of Hollywood - unflattering to African Americans

55. African American Representation in Cinema
1st 50 years of Hollywood - unflattering to African Americans

56. African American Representation in Cinema
1st 50 years of Hollywood - unflattering to African Americans
Sidney Poitier:

57. African American Representation in Cinema
1st 50 years of Hollywood - unflattering to African Americans
Sidney Poitier:
- 1963, 1st African American to win Acad. Award
for best leading male (Lillies of the Field)

58. African American Representation in Cinema
1st 50 years of Hollywood - unflattering to African Americans
Sidney Poitier:
- 1963, 1st African American to win Acad. Award
for best leading male (Lillies of the Field)
- portrayal of blacks began to improve

59. Feminism

60. Feminism
- began in late 1960s

61. Feminism
- began in late 1960s
- brought attention to role of women in film – on and off screen

62. Feminism
- began in late 1960s
- brought attention to role of women in film – on and off screen
- women had shorter acting careers than men

63. Feminism
- began in late 1960s
- brought attention to role of women in film – on and off screen
- women had shorter acting careers than men
- Film scholar Laura Mulvey

64. Feminism
- began in late 1960s
- brought attention to role of women in film – on and off screen
- women had shorter acting careers than men
- Film scholar Laura Mulvey
- “Male Gaze”

65. Feminism
- began in late 1960s
- brought attention to role of women in film – on and off screen
- women had shorter acting careers than men
- Film scholar Laura Mulvey
- “Male Gaze”
- point of view we often see in movies is a male point of view

66. Women photographed as
objects
Camera takes the point of
view of a male

68. Homosexuality

69. Homosexuality
- early representations were negative

70. Homosexuality
- early representations were negative
- homosexual content often communicated through subtext
or stereotype

71. Homosexuality
- early representations were negative and avoided if possible
- homosexual content often communicated through subtext
or stereotype
- representations have become less one-dimensional,
more authentic
Philadelphia Boys Don’t Cry

72. Do representations films reflect society
Do representations society reflect film?

73. Do representations films reflect society
Do representations society reflect film?

74. Do representations films reflect society
Do representations society reflect film?

75. Do representations films reflect society
Do representations society reflect film?

76. Documentary

77. NON-FICTION FILM

78. NON-FICTION FILM
- Early Lumiére films basic documentary

79. NON-FICTION FILM
- Early Lumiére films basic documentary
- Recordings of actual events

80. NON-FICTION FILM
- Early Lumiére films basic documentary
- Recordings of actual events
- No actors, no screenplay

81. NON-FICTION FILM
- Early Lumiére films basic documentary
- Recordings of actual events
- No actors, no screenplay
-However, they lacked any type complex narrative

82. MODERN DOCUMENTARIES
- Deal with real people

83. MODERN DOCUMENTARIES
- Deal with real people
- Places and events

84. MODERN DOCUMENTARIES
- Deal with real people
- Places and events
- No actors, no screenplay

85. MODERN DOCUMENTARIES
- Deal with real people
- Places and events
- No actors, no screenplay
-Documentarians like fiction filmmakers superimpose a
narrative structure over the footage
Can a documentary tell the TRUTH?