Gee, I Wish I Was Back in the Army...

 

'A critical evaluation of the propaganda themes in "White Christmas" (1954)'

Example of US Propaganda

The North Atlantic Treaty Organisation (NATO) defines propaganda as “any information, ideas, doctrines or special appeals disseminated to influence the opinion, emotions, attitude or behaviour of any specified group in order to benefit the sponsor, either directly or indirectly.” (Cited in Taylor, 1999) When discussing propaganda it should be understood that there are two main areas into which it falls. The first is the official propaganda released by governments, such as posters and newsreels. The second is feature films, a common medium which was used before and during World War II and has been used in every conflict since. The latter type of propaganda will be the focus of this essay.

During the Second World War time-period the film industry was highly censored. The main source of entertainment, for most, was the feature film. Films were, largely, quite explicitly layered with propaganda. “Joseph Goebbel's view that propaganda is best communicated through entertainment was put into practice by every nation's film industry.” (Sklar, 1993, p.260) These films aimed to influence and teach audiences about the dangers of the war and warn them of the enemy. The Germans were the masters at this technique. They painted the British, and their allies, as demon-like and soulless in brutal ways.

Still from 'White Christmas' (1954)

Although Allied propaganda was, perhaps, slightly less effective than that of the Germans that is not to say a multitude of propaganda was not released in these countries. Propaganda is often seen as something the 'enemy' does. Many find it hard to accept their Nation also produces propaganda. During America's early involvement in World War Two the film industry aided the cause as much as possible, “producers sought to capture and inspire                                                            public feeling about the war in their movies.”                                                                  (Sennett, 1981, p.175)

Propaganda films continued to be released worldwide, even after the war efforts were over. The late 1940s and 50s were still a very tense time politically so propaganda was used to remind people that the dangers were ongoing. In Hollywood films, propaganda continued to reaffirm the Americans' beliefs of freedom and national unity. Many of these films portrayed the Army in a glamorous way or aimed to gain sympathy for those soldiers who were still protecting their country.

Many classic Hollywood films from this era contain threads of propaganda, although this is not always obvious. The best type of propaganda is that which is not explicitly apparent. “White Christmas” (1954) is a good example. It is best known as a festive, family musical. However, dig a little deeper into the narrative and really listen to the lyrics and it is not hard to find propaganda aspects in this film. By highlighting the defining moments of “White Christmas”, where propaganda is evident, this essay will shed light on the hidden motives behind this Hollywood Classic.

Firstly, the overall plot has distinct aspects of propaganda through it. The story depicts two ex-soldiers, who are bound together after one saves the other's life. The film opens on Christmas Eve 1944, and then moves to years later when the two men are still friends and successful business partners. Bing Crosby's character continues to feel a great debt to Danny Kaye's character for saving his life. The pair follow a sister duo to Vermont where the girls expect to perform for the holiday season. The men discover that their old Army General has bought the Inn, which is failing. They rally around him and contact their ex-comrades to help them save the 'old man's' livelihood. There are two phrases used repeatedly throughout the film: “Everyone's got an angle” which Bing Crosby's character, Bob, introduces. He feels everyone has an ulterior motive in everything. He accepts that it's part of life. The second is “Let's just say we're doing it for a pal in the army.” Even ten years after the war these men feel a strong bond to the others they served with in WWII. The film portrays the army as one big happy family, which will always be there for its servicemen and women, no matter what.

The opening sequence is one which sticks in the mind. It depicts Bob singing “White Christmas” in front of a snowy backdrop, performing for the troops. The song “White Christmas” became extremely popular during the Second World War. It made soldiers, and those back home, realise what servicemen and women were missing out on while protecting their nation. By the end of the war “White Christmas” was the best selling record of all time. (HymnsandCarols) It was firstly written to appear in another of Crosby's film's, “Holiday Inn”; arguably another Hollywood film full of propaganda. Many people see the film “White Christmas” as a remake of “Holiday Inn” which gives more reason to believe that both films share propaganda motifs. While this classic, much loved, song is being sung bombing can be heard in the background. During the song the camera zooms into the dejected faces of the troops, then pans across the group. Presumably they are thinking of home and the audience automatically feels sympathetic towards these young men, and their sacrifices for their country. Added to this, before Crosby starts to sing, the General, in conversation with his successor and the army driver, states, “there are no Christmases in the army.” This would be unimaginable and very un-American. The whole sequence is dramatised to evoke great sympathy and respect for those serving in the Army.

The main aspects of propaganda in “White Christmas” are most evident at the beginning of the film and towards the finale. When the General appears at the top of the stairs, to attend the show, in his full Army uniform, his granddaughter, waiting below, gazes up at him in awe. The expression on her face is that of pride and love; she looks close to tears. Many men watching the film could have felt an emotional response, and perhaps would want the love and respect that was very evident for General Waverley throughout the film. The soldiers from his regiment surprise the General and begin to sing, “We'll follow the Old Man”; the song they sang when he left the Army. This song epitomises the sense of family and camaraderie being portrayed within the army, which is the emphasis of the entire film. All the soldiers stick together. It draws on the commonly used, “we” of propaganda; united “we” will prevail. The song paints the army, once again, in a warm sympathetic light. It is hard to watch this sequence without feeling some kind of emotional response. It is a very emotive piece and those watching it in the 1950s may have been influenced to stand up and take action; perhaps to even enlist in the Army.  

Probably the most notable song in “White Christmas” in terms of propaganda is “Gee, I wish I was back in the Army.” The song could almost be used as part of a recruitment video for the army. The film was released at a time when some conflicts had ended and America was about to engage in new ones. Within any film, which sets out to gain the support of people in national, political and military strategies, it is firstly very important to sharpen the audience's views of “nation” and “identity.” (Fox, 2007) White Christmas, the film, would not have had to do much to achieve this, considering the Korean War was ended and the War in Vietnam inevitable, when the film was originally released. (BBC History) The song, and the entire film paint a picture of the Army during the Second World War as a fun, safe and happy haven. Something those, who actually fought in the war, may not have agreed with. The lyrics really do emphasis how great the Army is. You get three meals a day for which you don't have to pay. There are always superiors who will take the fall for your mistakes. For the ladies, there are hundreds of men, all you have to do is take your pick. The phrase “tough civilian life” sums up the whole song. Life really is better in the Army than as your everyday person living in society. Similarly the song, “What do you do with a General?” implies that once a soldier, even a General, leaves the Forces, life will never be the same for them. The song gives the impression that these soldiers are in the Army for life, even after the conflict is over. One theme that runs through the entirety of the film; the “we” of propaganda.

Still from 'White Christmas' (1954)

In conclusion, it is clear that propaganda can be found in the most unlikely of places, even in a well-loved Hollywood Musical. “White Christmas” promotes the army as a great institution; at a time when the forces would have been seeking new recruits for up-coming conflicts. The film also tugs on the heart strings, helping to distract the audience from the sense of being influenced. The way in which this Hollywood classic uses propaganda threads in not explicitly obvious but there definitely are themes and motifs which identify the text as propaganda. It is a world away from Hitler's very powerful propaganda but still had the same intentions to influence those watching. It simply went about this in a completely different manner. Propaganda sets out to evoke a response and “White Christmas” certainly can, or could, when it was released, trigger a reaction, whether it be emotional, or to inject a sense of patriotism within the viewer. Taking into account NATO's definition of propaganda it is clear that “White Christmas” falls into this category. Bing Crosby's character declared, “everyone's got an angle” and even this film “has an angle”; to persuade the people of America that the Army is a great service and life is better when serving in the Army. Certainly after watching “White Christmas” it is easy to understand how many Americans, particularly at the time of release, could have walked out of the cinema thinking, “Gee, I wish I was in the Army...”

Sources

• Film. An International History of the Medium by Robert Sklar. 1993, Thames & Hudson Ltd.

• British Propaganda in the Twentieth Century by Philip M. Taylor. 1999, Edinburgh University Press.

• Hollywood Musicals by Ted Sennett. 1981, Narry N. Abrams.

• Film Propaganda on Britain and Nazi Germany; World War II Cinema by Jo Fox. 2007, Berg.

• BBC History

• Hymns and Carols of Christmas

Not with a fizzle, but with a BANG...

'Easy A'
Release Date (UK): 22nd October 2010
Certificate: 15
Director: Will Gluck
Writer: Bert V. Royal


'Easy A' has been dubbed as 2010's answer to 'Mean Girls'. Starring Golden Globe nominee, Emma Stone* and Oscar nominated Stanley Tucci,** as Stone's quirky father, it really is a 'teen movie' with a difference. How often do you hear reviews say that? Well, this time, this film really is worth the hype.

Olive (Stone), our protagonist, talks us through how one small lie, a favour to a friend, and the high-school rumour mill led to her flawless reputation being demolished.

The film opens with Olive talking to the audience through a webcast, the action skips back in time to when it all began and continues to cut between the past and Olive in her webcast explaining what happened.

Olive lies about her plans for the weekend to avoid spending time with her friend. She tells Rhiannon she has a date with the imaginary George. Back at school on Monday her friend assumes Olive lost her virginity to George. They proceed to have a conversation about the alleged events in the privacy of the girls' toilets. They are overheard by Marianne or 'Sister Christian' as Rhiannon calls her. Marianne proceeds to spread rumours about Olive around the school. Before long the whole school knows and Olive finds herself with a new reputation.

Olive agrees to help friend, Brandon, by pretending to sleep with him to make everyone think he's straight, to stop him being bullied. Brandon tells a few people of their arrangement. Before she knows it Olive finds herself 'open for business' helping the poor downtrodden males of her school who are unlucky in love.

Naturally the whole thing gets out of control. Olive decides enough is enough, however no-one will help her tell the truth. So, Olive puts on a show at school to entice everyone to watch her webcast. She gets her 80s style musical number...for no apparent reason. She also gets her 80s film ending...

Of course, as with every film of this nature there is a moral aspect to it. In this case it's the usual, well-worn: don't believe everything you hear, you don't have to change who you are for anyone or anything. However, for once, it did not feel like it was being stuffed down the throats of the audience at every opportunity. Olive did what she did out of her need to help others. The story is kept light and in keeping with the whole feel of the film.

There is very nice symbolism throughout the film. The English class are reading 'The Scarlett Letter'; a tale in which the main character is forced to wear a red A on her clothes, 'A' for adulterer. Olive proceeds to wear a red 'A' on her new provocative clothes. The story of 'The Scarlett Letter' is reflected in Olive's own journey throughout the film as she realises her mistakes. The A in this case having several meanings, one of which is reflected in the title of the film, 'Easy A', referring to Olive's supposed sexual exploits. Of course, the film could be open to feminism criticism as being degrading to women. However to go into this in detail would require an entire blog to itself.

The parents steal the show, no doubt about it. Tucci and Patricia Clarkson play their parts with comic timing, and act with such ease the film, at times, feels unscripted. Overly scripted scenes and wooden performances are, quite often, the main downfall of many teen films. It was also a very welcome change to see a good, healthy relationship between parents and their teenager. So many films involve major arguments and angst on both sides of the relationship. However, 'Easy A' showcases fun, if slightly unorthodox, parents really connecting with their children and having a genuine-feeling family life.

As always Emma Stone is fresh and funny, her acting style bounces of that of the parents and results in several brilliantly comedic moments. Stone really is a talent to watch out for in the future. Hopefully she will not find herself type cast in comedy roles as most of her roles thus far have portrayed funny characters. 

On the whole the majority of performances in this film are very good. The weak link has to be, and I'm sorry to say, ex-Friends star Lisa Kudrow. She may have been excellent as the flaky Phoebe in Friends but her performance in 'Easy A' was somewhat lacking the spark and natural feel that the rest of the characters had. This one forced performance does not impact on the film as a whole as she is not an integral character to the plot.


Overall 'Easy A' really is a must-see, and don't be fooled into thinking it is only for teenagers or females. It really can speak to almost everyone. If the storyline doesn't catch your attention then the catchy soundtrack certainly will. Oh, and watch out for all the oranges...

*Emma Stone, Golden Globe Nominated in 2010. Best Performance by an Actress in a Motion Picture – Musical or comedy for Easy A.

** Stanley Tucci, Oscar Nominated in 2010. Best Performance by an Actor in a Supporting Role for Lovely Bones.

Ideology in Films

“In film studies, ideology means the influential underlying social and political beliefs of a society or social group.” (Phillips, 2005, p.632)

Three categories of ideology can be identified in films. The first, neutral, includes films which serve a purely entertainment goal; a form of escapist viewing. A neutral ideology is extremely rare, as there is usually an underlying message in every film. The most likely example of neutral ideology films would be children's films. However, this is not to say that all children's films are neutral. Many, in actual fact, contain strong ideological themes. The second category, implicit, is the most common form of ideology in film. The two main characters, the hero and the villain, represent contrasting ideological views. This category is quite subtle and implies a lot of the meaning. It feeds off the viewers understanding of cultural ideologies to further enforce the impact of the message. The explicit category includes films which have been constructed purely to teach or persuade and is very obvious in achieving this, for example patriotic films. (www.wsu.edu)

Still from in the Heat of the Night (1967)

'In the Heat of the Night' (1967) is a film which implicitly showcases ideology. Set in the deep-south of America in the 1960s, the local police officers must work with an African-American man, who is their superior. The film is set during the very influential and world-changing political time of the Civil Rights Movement. There is no doubt that this movie was a highly political one, with a very important message to the American people, along with the rest of the world. The film represents the change in society that was talking place at the time. The old ideology of white supremacy in the US is evident at the beginning of the film when the main character is arrested for a murder purely because of his race. The modern American ideology that everyone is equal and everyone can be a part of the American Dream is developed through the film as they work together. By the end of the film the main characters have learned to know and respect one another. They go their separate ways, both having benefited from knowing the other.

Still from The Patriot (2000)

Contrastingly, 'The Patriot' (2000) portrays ideology in an explicit way. Set during the American Revolution, the film depicts a war hero, turned pacifist, who is forced to take up arms again when one son is murdered by an English solider and his eldest son joins the fight. The film, as so 

many like it, portrays the enemy as brutal and heartless. Most war films contain this ideology and represent the 'enemy' as inhuman and soulless. In this case, the English are so evil they would even burn a church to the ground, a symbol of sacred belief, an ideology which in itself is still very prominent in American Culture. Seen from the American point of view, anything different or un-American must be evil. Of course, the same can be said about any war film, no matter which countries are represented. 'The Patriot' is a very patriotic film as the title would suggest and reinforces the American belief in independence and freedom. The American people will band together to fight off any evil, no matter what form it takes. This ideological view had to be put into practice, for real, the year after this film was released, following the 9/11 attacks.

Almost every film has some form of ideological message, whether it be about civil rights or promoting national identity. Next time you watch a film don't take it at face value, try and determine what it is really trying to tell you.

Sources

• Film. An Introduction. Third Edition by William H. Philips. 2005, Palgrave Macmillian. 

• Washington State University Website

• Internet Movie Database

Going Against the Grain...

In order to understand and identify films which subvert Hollywood/mainstream film standards and techniques, it is important to define what dominant cinema standards are and how counter-cinema counteracts them.

Five 'key' areas are identifiable in 'mainstream' film, which counter-cinema avoids;           1. Genres 2. Stars. 3. Producers/Studios. 4. Directors. 5. Mass Audiences (filmtheoryandcriticism)

Peter Wollen in, “Godard and Counter-cinema: Vent d'Est.” outlines seven 'deadly sins' of dominant cinema against seven cardinal virtues of its counterpart.

1. Narrative straightforwardness v Narrative intransitivity
2. Identification v Estrangement/ailenation
3. Transparency v Foregrounding of meaning production
4. A Homogeneous world v Multiple diegesis
5. Closure v Aperture
6. Pleasure v Displeasure
7. Fiction v Reality and the breakdown of representation                                                                    

                                                        (filmtheoryandcriticism)

It should be noted that not all these 'sins' need to be present or absent to make or subvert a mainstream film. Similarly, with the five points outlined above, not all have to be absent in a counter-cinema film.

 

Two films which subvert these dominant film standards are Sliding Doors (1998) and the American remake version of the 1997 Austrian film, Funny Games (2007).

Sliding Doors is not, at first, an obvious example of counter-cinema. It does not follow the typical Hollywood techniques. The narrative is anything but 'straightforward'. The opening sequence of the film sees the main character split into two realities, which creates a 'what-if' scenario throughout the film. 

The audience, therefore, is not guided through the story and is unaware which 'reality' is in fact better for the characters. The audience has to engage and remember which story is being told and where the last thread of the storyline left off. “Sliding Doors, alongside Groundhog Day, Pulp Fiction and The Usual Suspects, have challenged contemporary audiences in the way they have used various devices in 'film form' to subvert the mainstream model of 'story-telling', and most specifically, the way that classical narrative represents 'time' and 'space'.” (Nelmes, 2002, p.87.)

Funny Games is similar to Sliding Doors with its Hollywood cast and its subversion of the recognised mainstream cinema techniques. The first is the 'rewind scene'. The mother of the hostage family manages to shoot one captor. Instantly his accomplice seeks the remote control and proceeds to rewind the scene to before the shooting, changing the events. The hope felt by the audience is gone in a second. Techniques like this happen throughout the film. Hope is given and then it is dashed.

 

Another technique is when a captor directly addresses the audience. In the middle of 'making a bet' with the family he turns directly to the camera and says, “What do you think? Do you think they stand a chance? You're on their side, aren't you? Who you betting on, hmm?” By talking to the audience he breaks the narrative and allows and expects the audience to think about what is happening and why; a rare occurrence in a Hollywood Film.

The ending, unlike mainstream films, provides no closure at all. The captors arrive at a neighbours house as they did at the start of the film, asking to borrow eggs. Once successfully in the house the young man (who could quite easily be anyone you know) looks directly at the camera with a knowing look, almost a smirk. The games have begun again...

Sources

• An Introduction to Film Studies by Jill Nelmes. Third Edition. 2003, Routledge.

• Film Theory and Criticism

What Makes an Auteur?

The auteur theory is a form of film analysis which identifies, “the director as 'author' of a film through the imprint of a personal visual style.” (Sklar, 1993, p. 523) The theory implies that the standard of reference when viewing a film is the personal input of artistic creativity from the director. According to this theory, a film and its director can be assessed by a body of work rather than looking at each 'text' individually. An auteur's films have recurrent themes, characters and a very distinct visual style.

Tim Burton is an auteur. His films are recognisably his work. “Of all the Hollywood talents of the 1980s and 1990s, Burton created the most distinctive world.” (Thompson, 2003, p. 691) This post refers to three of Burton's films, demonstrating the auteur qualities of this prolific director. Films which, although produced over a period of seventeen years, contain many features that bind them and identify them as Tim Burton creations.

Still from Edward Scissorhands (1990)

Burton's sets are very distinctive in style, echoing the German Expressionist Movement. The distorted buildings and unnatural colourings allow us to step into his world, which is not the same 'reality' we inhabit everyday.

Tim Burton uses lighting and colouring to generate atmosphere in his productions. “Desaturated colour may establish and reinforce certain moods throughout a film, as in the world created for Tim Burton's Sleepy Hollow (1999) – a world where there are lots of clouds and fog, the sun never shines, nothing is in bloom, the trees are bare, it's cold, gloomy and colourless...” (Phillips, 2005, p. 68)

Still from Sleepy Hollow (1999)

Similarly, in Edward Scissorhands (1990) the bright suburban background contrasts with the dull, darker nature of Edward and his creator's mansion. In Sweeney Todd (2007) desaturated colour is also used to contrast the dark and dreary representation of the present day with the bright scenes, during Todd's flashbacks, of how happy his life once was.

Still from Sweeney Todd: Demon Barber of Fleet Street (2007) 

The characters Burton uses in his films have underlying similarities. The main character is usually an outsider, different to others in some way. “The suburbia of Edward Scissorhands (1990) is invaded by an awkward young monster resembling a Goth rocker.” (Thompson, 2003, p. 692) Sleepy Hollow depicts an eccentric and squeamish police constable from New York who is sent to the village of Sleepy Hollow to solve a series of murders. His mannerisms and lifestyle is very different to the locals. Likewise, in Sweeney Todd, the main character is hell-bent on revenge and is darker and angrier than other characters in the film.

It is impossible to speak of Tim Burton's creations without addressing the casting of Johnny Depp. It has become expected that any Burton film will include a performance by Depp. The Depp-Burton relationship is another layer of the director's auteurism. Not only do his film characters have similarities but the actors are also often similar, if not the same, in each film.

 

There is no doubt that Tim Burton has been and continues to be a very influential auteur. His films, Edward Scissorhands, Sleepy Hollow and Sweeney Todd: The Demon Barber of Fleet Street, really showcase the aspects of Burton's talents that have made him so identifiable in the film industry. While portraying genres from horror to musical each still contains a very identifiable 'voice'; that of Tim Burton.

 

Sources

• Film History An Introduction. 2nd Edition by Kristin Thompson and David Bordwell. 2003, McGraw-Hill Higher Education.

• Film. An International History of the Medium by Robert Sklar. 1993, Thames & Hudson Ltd.

• Film. An Introduction. Third Edition by William H. Philips. 2005, Palgrave Macmillian. 

Five Defining Moments from pre 1930's Cinema

Pre 1930’s cinema played a massive role in developing films and filming techniques, shaping them, over many years, into what we see on the big screen today. There are many defining moments from this era of cinema. Here are five of these moments that stand out.

1. l'Arroseur Arrosé (1895) 

In 1895, the Lumière Brothers, from France, created their own innovative filming device; a movie camera and projector combined. This device made it possible for multiple people to view a film simultaneously. They patented their invention in February 1895 and named it the ‘Cinematographe’. December 28th 1895 saw the dawn of commercial cinema. The brothers presented the first projected showing of a motion picture to a paying audience, in a theatre designed purely to show movies. The screening consisted of ten short films. The programme lasted about twenty minutes. l'Arroseur Arrosé was one of these films. It became the first famous comedy, and is still renowned worldwide today.

2. Le Voyage Dans la Lune (1902)

George Méliès was known as the ‘Magician of the Cinema’.(Thompson, 2003, p.24) In 1902 his film, “A Trip to the Moon” saw the beginning of special effects and a whole host of photographic techniques that are still used today. He used slow motion, stop-motion, and dissolves, to name a few. These were a real first for cinematography. Méliès produced his Science Fiction film using techniques that had never been used in cinema before to create complex fantasy and magic scenes that would capture the audience. In addition, Méliès also introduced the concept of narrative storylines, characters and how they develop in films.

3. The Birth of a Nation (1915)

1915 saw the creation of the first American epic feature film. “The Birth of a Nation” lasted over three hours and took cinema to a new level. It contained structured and complicated battle scenes. D.W. Griffith’s masterpiece also saw innovative use of photographic techniques; he used dolly shots and incorporated flashbacks into the action. “The Birth of a Nation” caused great controversy due to its racist message and the Ku Klux Klan even experienced a resurgence of popularity due to the film. This was the first time film was seen as a powerful tool that could merit and evoke a powerful response from society.

4. The Cabinet of Dr. Caligari (1920)

The German Expressionist Movement saw the first real relationship between film and art, film art. The stylistic, distorted sets and dramatic lighting make this movement very interesting and recognisable. Robert Wiene’s “The Cabinet of Dr. Caligari” is possibly the best known and influential film from this movement. The actors make no attempt at a ‘realistic’ performance. They move in a jerky, unnatural way to add to the effect of the piece. “The Cabinet of Dr. Caligari” was the first horror film ever made and it captivated audiences. The sets, characters and costumes are still echoed in modern day film, Tim Burton’s films are a prime example of this.

5. Don Juan (1926)

Although early movies were called ‘Silent Films’, they always had music that accompanied the action, usually played live by a pianist/organist in the cinema. “Don Juan” was the first feature-length film that contained synchronised music and sound effects recorded using Vitaphone, but still no speech at this stage. Although the film failed to gain the positive response that Warner Bros. had wanted it still paved the way, and showed the need, for advances in sound in films. It inevitably led to the first ‘talkie’ “The Jazz Singer” (1927) which highlighted the redundancy of Silent Films and took film into a new era.


Sources 

• Film History An Introduction. 2nd Edition by Kristin Thompson and David Bordwell. 2003, McGraw-Hill Higher Education.

• Film. An International History of the Medium by Robert Sklar. 1993, Thames & Hudson Ltd.

• FilmSite