In the article Objecting to Objectification: Re-Viewing the Feminine in The Silence of the Lambs (first printed in Journal of Popular Culture, 37.1, August 2003, pp. 1-12), Greg Garrett outlines ‘a theme that runs throughout the film’; the objectification of women. He argues that ‘by accenting Starling’s harassment, by removing male helpers present in the novel, and by stressing Starling’s resistance to the attempts of men to objectify her, the film creates… [a statement] about the various forms of female victimisation in our society.’
In his introduction Garrett refers to what he believes are the two core moments ‘consistent with [this] theme which runs throughout the film.’ The first is a scene where ‘Starling (Jodie Foster) holds up a punching target and braces herself as brawny male trainees light into her. She is no longer a woman; to her fellow trainees, she is only a punching bag.’ He believes that the fact she is surrounded by men and that they are shown to be pummeling her in this way, makes her seem less human, which makes way for the other times throughout the film in which men in her place of work objectify her because she is a woman.
This ‘verbal’ example clearly ‘reinforce[s] the idea that women must be seen as people rather than objects.’ This is what Garrett sees as something of a ‘strong… statement’.
Many examples Garrett makes in reference to this concept come in his references to things people say during dialogue with Starling. He recalls that ‘Starling is sexually harassed by Dr. Frederick Chilton’ when he is insultingly asks her for a personal ‘follow up’. Later he points out that ‘two young deputies make objectifying remarks about her.’ So through these examples Garrett shows the reader that in the scripted dialogue, the objectification of women is obvious in her male colleagues attitude and conversation with her.
Garrett argues that the ‘chief objectifier of women in the film’ is Buffalo Bill. The main manifestation of Buffalo Bill’s objectification comes in the way he treats his victims; killing them so that he can ‘construct a costume of their skins.’ Garrett recalls Lector’s murdering method as similar in it’s objectification; (though it is not unique to women) he ‘turns people into gourmet meals’. However there is a difference with his attitude towards Starling when he ‘begins to regard her as a person, and thus is no longer capable of objectifying her,’ in the same way that Buffalo Bill was encouraged to.
Garrett describes his second reference from his description of the following scene:
…in response to a televised appeal broadcast to killer “Buffalo Bill” (Ted Levine) to release his most recent hostage alive, Starling lauds the strategy of repeating the victim’s name, Catherine, over and over. She knows that if Bill “sees Catherine as a person and not just an object” it will be harder to destroy her.
By analysing this theme in The Silence of the Lambs, we see that Garrett’s main aim is to highlight the moral importance of treating people as they should be; as humans, not as objects.
The first two minutes of the film Chocolat (2000) are highly revealing as to the concept of what film academic S. Brent Plate describes in his book Religion and Film (2008) as two ‘contrasting spaces’ which essentially represent two ‘contrasting worlds.’ During this introductory segment the viewer is able to become accustomed to (through a number of cinematic lingual elements) a central strand in the film’s narrative; the way in which regimented religious structure and pleasure driven business can become two conflicting sectors in society.
The first thing heard in the film is piano playing musical notes on a higher register; Rachel Portman’s score suggests a tranquillity and the viewer may feel enticed; yet the fact that it is played in a minor key suggests that something is foreboding, perhaps this calmness and peace will soon disappear. This is relevant as the order of the town is destroyed when the new chocolate shop appears.
The first titles that appear are basic in their format; this simplicity matches the feel of the town we will later visit. The town is a place which on the surface of things seems devoid of modern complications that perhaps the church feels it is able to keep in order. Beyond this simplicity, the white and black colours suggest that their actions may be viewed as one of two things; right or wrong, which contrasts the complexities of the confectionery seller with her questionable morality.
Beyond the titles, the first things filmed are what look like clouds, which the camera glides through. The viewer may assume that we are now descending through the clouds from somewhere high up in the sky; are we being told that God is watching? This could be true when seen in relation to the church and it’s aims. However, when the camera moves beyond these apparent clouds, we see that we are not descending from the sky, rather moving horizontally through what looks like mist. This illusion could well imply that the supposed divine intentions of the town’s religious leaders are in no way inflicted by a higher power, rather by human will.
The long shot of the entire town reveals a number of things; firstly the size of the town; it is a small place where presumably not many people live, which suggests that any changes to daily life will be noticed by all of the town’s inhabitants and that any sort of control; be it political, criminal, commercial or religious, won’t take much to create a stir.
Secondly this long shot establishes the position of the town; it is high up on a hill and in the middle of the countryside. This could well mean that the town is difficult to reach and maybe is a place that is untainted by the proverbial ‘big dark world’ around it. This sets the film up as the shop owner moves into the town and is a modern and fresh addition to a town which is steeped in traditional values.
Thirdly this long shot reveals the church as the tallest and most central landmark of the town. The viewers eyes are immediately drawn to it, which serves the purpose of it being the institution that’s existence is threatened. It is at the centre of the town and the centre of the lives of the town’s citizens.
Two sound effects are heard when the music stops; birds singing and church bells ringing. The birds once again allude to the town’s apparent tranquillity but also could be read to symbolically represent new life and new beginnings; something which the town is about to experience. Things are about to change and become transformed.
The church bells are a familiar sound to even the most pagan of viewers; most people know that they are rung in order to call people to church, or at least to draw attention to it. These bells however are not tuneful, but are somewhat monotonous and off-key; which could well refer to the fact that the weekly routine of going to church is not a joy to these people, these bells are not joyous or inviting, rather they are boring and dreary. The viewer when hearing this will perhaps view see that this place does not achieve the things that a good church should; contrastly it is a place of boredom and weekly duty.
We are now shown a straight on shot of Comte Reynaud (Alfred Molina), this shot suggests that he is someone who is not necessarily of any threat; but the straightness insures that he is definitely in control. As people pass him and enter the church, this notion is confirmed when he signals to a man to remove his hat, almost like a school teacher. This is not a man who lets anything go unnoticed, especially rebellion; something that Vianne (Juliette Binoche) has plenty of.
The costume choice of black, his removed hat and the facial hair on his upper lip (moustache) all suggest that Comte is a man of conservative persuasion. This prepares the viewer to see him in juxtaposition to Vianne who is presented as progressive and daring.
The church is framed from a lower view-point suggesting its domineering nature. This church is not a place that is open to sinners who can find solace in it’s forgiving nature; rather it is a place which gives it’s members no freedom or joy; something which the chocolate shop can happily offer (especially in the month of lent).
A French church, similar to the one used in Chocolat.
A good point on the fact that this is a wide-angle shot is made by Plate;
A significant early shot is taken from the opening of what will become the chocolate shop, and the wide-angle camera is forced to point high to take in the height of the church towering above it.
The fact that this shot is taken from where the chocolate shop is established implies that these two places are in head to head conflict which is definitely seen throughout the film in the fact that both places stand for such different values.
This opening sequence of filmic images all combine to portray the film’s core narrative line; two very different worlds colliding. Those who manage to watch the film all the way to the end see that the two world’s eventually settle their differences and that Vianne undergoes an earth shattering change of her very own. This film does not necessarily serve to highlight a negativity towards the Christian church as a whole; rather it’s message discourages regimented and freedom infringment in religion and in politics. In the same way, the film is not necessarily encouraging chocolate binges or revolutionary retail, rather it would be better to read it as an acknowledgement of the beauty of freedom and enjoyment (namely the enjoyment of Chocolate).
The director Norman Stone first came to my attention when I watched a brilliant documentary about The Narnia Code (all I’m saying is, it involves planets and Aslan).
My Father told me about who he was and about the fact he was a Christian, the son of a preacher (poor guy) as well as the grandson of a preacher (even worse) and that he is married to the daughter of this guy:
Magnús Magnússon
After some research a few months later I found out that he directed another documentary about C S Lewis as well as the original TV version of Shadowlands more recently he directed the BBC Florence Nightingale series.
I also recently bought a film called Man Dancin’ which he produced & directed. It’s set in Scotland and is about a ex-gang member recently released from prison. There’s a good Christian message in there without making it wet or cheesey; it’s a gritty 15! Awesome.
I’ve only watched half of it thus far; I started watching it late and a man’s gotta wake up in’t mornin’. We’ll see if I benefit from the finished product and wether it will receive the Blewog Seal of Approval.
How gritty!
I’m delighted that there are representatives out there in popular(ish) culture who are generating good quality art with an un-watered down Christian perspective.
I’m reading a book at the moment (I know, unbelievable!) it’s called Eyes Wide Open: Looking for God in Popular Culture and it’s by William D. Romanowski. I’m really benifitting from it’s clear and wise message; if you’re a Christian you have a duty to engage with the culture around you! We are commanded to “Be fruitful, multiply, fill the earth, and subdue it [the earth].”
If we are looking upon the culture we see around us as purely evil, then what hope does the world have of being reached with the message of Christ? We ought to be salt and light in this world, we are to be in this world but not of it. Engage with what you see daily, be critical, comment on it from a biblical perspective.
I was thinking about all this and all of a sudden I got an email about something called The Pitch.
The Pitch is your opportunity to pitch to make a short film with professional production support worth in excess of £20,000, a
nd to receive advice from top industry professionals.
Work on your film maker vision and delve into the Bible for inspiration
So I’m working on that with this refreshed perspective in mind.
There are people out there who have the right attitude but I’m sure there could be more. Instead of being someone who makes ‘Christian Music’ why not be ‘A Christian who makes Music’? If Christ is at the centre of your life he will touch everything you do and shape it.
Anyway, something to chew on.
And finally, some news hot off the press involving Mr Stone and this guy:
Jeremy Irons
The project is a film on the life of St Columba.
No, not him:
Him:
Of course you all know who that is but just in case you didn’t; he’s basically credited as the guy who brought Christianity to Scotland.
This film (knowing how these things go) probably won’t be out until 2011; but I’m excited to see if it comes to fruition and what it will be like.
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Oh! You want to know my favourite Jeremy Irons role? No brainer:
One aspect of moving from London to Aberystwyth is that culturally we have fewer opportunities. In London, on one desired day or night one could choose to attend any number of talks, plays, films, exhibitions, events etc. Here in Aber there is far less going on. Some may see this as a great disadvantage, as I thought I might; however I’ve found that because there are less things to do I want to do all those things! In London it can be overwhelming and the copious amount of choice often means I end up doing nothing.
Here in this townon the west coast of mid Wales, there are a number of opportunities to get stuck into large amounts of potentially riveting forms of cultural interest and entertainment. The main hub of all these things comes in the form of The Arts Centre. Here one can find an HD cinema screen, two theatre stages and a number of exhibition areas. There seems to be at least a play on a week, and the main most popular releases are shown here. I have joined the film society which means twice a month I’m able to watch an indie film from somewhere around the world made anytime from 1932 to today.
We also have the The National Library of Wales, which not only is quite a magnificent building, but holds a number of interesting exhibitions. Having looked at the schedule on the website there is also a lecture every week from whatever professor, celebrity or general expert they can find.
The town’s cinema ‘The Commodore’ also holds a range of recent films, I believe at the moment they are showing Forrest Gump.
Today me and wife made our first visit to the National Library. Where there was to be a lecture on the use of DNA to trace family history. Despite being discouraged by Sibyl’s reminders that my course had nothing to with Science or anything clever like that, I explained that I wanted to go despite that, in order to open my mind to the wonders of knowledge.
Like I mentioned in an earlier blog post, people seem to be obsessed with tracing their family history these days, ever since these ‘Who Do You Think You Are’ programmes have been showing on the BBC. Sure enough when we arrived, the lecture theatre was overrun by organised people who had pre-booked their seats; thus we were forced to sit in the overflow with several angry 66 year old Welsh speaking women. This seemed to be fine until the lecture began and there was a problem with the television which was playing something involving Carol Vorderman laughing loudly, over the top of the relay of the Professor. This is very off putting when someone is telling you about blood sampling.
We soon lost interest and made our way to the Pen Dinas restaurant, within the same building. I got a lovely leak, mushroom and Welsh-Cheese pie and Sibyl got what looked like a lasagna but it ended up having chicken in it so wasn’t; nevertheless both our meals were to a high standard, and very tasty.
After that, we stumbled into an exhibition on two Welsh writers of the past, Dylan Thomas and Kate Roberts. Both of which seemed like interesting people, writing interesting stuff. Thomas is the only one I have read lots of stuff by. There isn’t a poet that I have read more by, and a writer who can move and excite me more consistently.
Kate Roberts, who writes in the medium of the Welsh language is someone who I’ll be looking into, although my Nain (Nan) says her work is “very depressing”.
Next week there is a lecture on ‘A Sword in the language battle: ‘The Welsh Film Board, 1971-1986′. It promises to be a classic. I hope these events don’t end up being more exciting than the course I’m actually paying for!
I’m still infected thus am forced to sit here on my own in confinement. I just watched The Producers (1968) it was pretty jokes.
After much encouragement from my younger brother, I’m listening to the leaked Arctic Monkeys album, Humbug. I will buy it when it comes out, I pwomise. It’s very psychedelic and about as far from Mardy Bum as you can get. It’s currently under the genre Psychedelic Rock on my iTunes, that may change in time. I love the band though, they’re one of my favourites. I always assumed they were hugely popular in every circle, however I was talking to a Christian guy a couple of weeks back and he was surprised when I confessed my love for them. He claimed that Christians generally didn’t like Alex and The Arctics. There isn’t anything particularly offensive about them, they have the odd dirty word here and there, but it’s usually to dramatic effect. Most Christians play it safe with their music taste. Here’s my list of the top 5 non-Christian Christian bands/artists:
5. U2.
4. David Gray.
3. Muse.
2. Regina Spektor.
1. Coldplay.
Sibyl is my flu-friend and has opted to venture out and get me some tamiflu. According to her I might die if I don’t take it.
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In the moonlight they’re more thrilling
Those things that he knows
As he leads you through the grinning
Bubble blowers in the snow
Watching his exit
Is like falling off the ferry in the night.
It’s late and I’m tired, but I’ve just watched this film and was trying to find some stuff on the net about it and there’s hardly anything. The format I have watched this in probably has something to do with it; downloaded from unreliable sources. However I’d like to think of that means of ownership as an elaborate way of me receiving an advanced copy; it’s just they didn’t know that I wanted to review it, and I wasn’t at the Sundance Film Festival, so.. yer.
Ok I’ll just give you the short synopsis from Wikipedia:
A reclusive writer played by Bentley makes his living composing other people’s suicide notes. He excuses the morbidity of his job by claiming that his clients find it life affirming or that sometimes death is the best option for someone.
His life gets turned upside down after he embarks on a tumultuous romance with Ryder, the sister of a recently deceased client. Winona plays the sister the man who enlists the services of a professional suicide note writer(Bentley) before he takes his own life – and events lead to a romance between him and Winona. He also befriends a inelegant uninspired musician client (Ray Romano) who he may not be able to stop from killing himself.
So it’s got her:
Girl off of shoplifting.
Him:
Slightly creepy looking plastic bag lover.
Oh and him:
A review of sorts:
1. It’s not a romantic comedy.
The way it’s presented on the DVD cover and the way it will be presented when/if it eventually comes out is as a Rom Com. It’s more of a drama with elements of comedy, I just don’t want to say ‘Dramedy‘.
2. The acting’s pretty good.
Our protagonist is played well, no hugely moving acty-bits but some very good stuff.
Winona Ryder looks good, her character is slightly underwritten, and again no potentially award winning acting moments.
Manny the Mammoth’s character is perfectly cast, he’s funny and quite good.
3. A guy called Geoffrey Haley wrote and directed it.
It seems this is his first (and maybe last) directing job. Apparently he was a camera man on Six Feet Under and other such things. I like his writing though, and I like the fact it’s his first thing and he’s come out with something rather good. That’s encouraging for me and other budding writers out there.
4. The film as a piece is a great idea, and was a pleasure to watch from start to finish.
I’m sure they’ll be putting that quote on the poster. Actually one second, we need far more superlatives if we want a gooden…
4. “The Last Word is the finest Dramedy I’ve seen in years and was stunning from start to finish.”
Rhodri Brady, The Blewog Blog
I really do mean that though, it was really good and I hope it gets a release somewhere.
5. BTW, it’s got an awesome ending.
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Yeah, so look out for it, and if you get impatient buy the DVD or download it.
.JPG "dark days/light years")
