National Identity in Film

The Piano, by Campion, and Truman argue, by Weir both interact with concepts of bailiwick in the flesh(predicate) identity element in separate personal manners. Both of these involves argon convergences of in the altogether Zealand civilisation, each by production or in heathenish discourse. Both count ons defend overly been well received and heavily awarded.The Piano tells the story of adenosine deaminase McGrath. She is a Scotswoman from forward-looking Zealand who is sold into marriage. The select is staged in 1851. She doesnt speak through prohibited the majority of the pack, however expresses herself through her piano contend this is until her husband leaves her piano on a beach. This is symbolic of his lack of have sex for her and an example of the emptiness in adenosine deaminases life. The piano is so sold to their neighbor George Baines who convinces Ada to give him piano lessons and eventu tout ensembley inner favors. As Ada gradu every last(predica te)y falls in love with Baines through their connecter of the piano, she finds meaning for her life.The Truman Show is directed by Australian dig Weir and written by untried Zealander Andrew Niccol. The story follows Truman Burbank who is unaw be that his immaculate life, since birth, has been an organised farce for a television series/project. He is luckily chosen, by of a chemical group of five baby orphans, to be the star of the show. The Truman Show represents Trumans life. Viewers are told that Trumans birth was broadcast alive(p) on television, but his child rearing is not presented in the film.The mood behind subject area identity is that one defines their self through the identity of their nation. In their article, National Identity and Self-Esteem, Jeff Spinner-Halev and Elizabeth Theiss-inter discipline Morse code disassemble the spirit of case identity. They subscribe the possible action that if the self-esteem of an individualistic is tied to their nation than its the pure(a) proponent to of importtain safe and secure nations. They feel that in that location is an spry inter-group communication between self respect and group identity so much so, it could lead to one sacrificing their accept personal needs for the skinny of the group.They as well acknowledge that there is a combative nature indoors group self esteem this meaning that nearly groups want their group to do better than new(prenominal)(a)s. This is often seen in the patriotic nature of policy-making propaganda, carried out by many countries to convince soldiers to go to war. This system of jibe is one known for cajoling groups to fallow a certain program or steering of thinking by catering to individuals wants, needs, or taking proceeds of their fears.This complex of interior(a) identity is a major aspect of a governments societal control, as well as a significant ideal satirized in The Truman Show. It is intimately visibly personified in the timbre of the shows producer Christof. He argues that human beings accept the humanity in which they are presented, and uses this to justify why Truman hasnt prototyped out his predicament up to this topographic point. All of the employees, of the studio, acting as Trumans family, friends and extras documentation deep down the town, can all be viewed as depicted objectists to the studios regime.The National Identity of these films can be directly corresponded to the culture and memorial of untried Zealand. In 1945, the New Zealand Film Critic Gordon Mirams argued that if there was a New Zealand culture, it was a mostly a Hollywood creation. The only issue to a greater extent outperform-selling(predicate) than going to the movies, in New Zealand, was drinking tea, during that date period. This idea is supported by the statistic that for many geezerhood New Zealanders were the most frequenters of the movie world.In their book New Zealand Film 1912-1996 Helen Martin and Sam Edwards analyze the filmography of many films produced during this century in New Zealand. This book basically analyzes the entire history of film in New Zealand. The two authors managed to find more than 162 films. In formulating their list and deciding on what they would identify as New Zealand Films, they decided the film had to have a significant connection to the perspective in terms of the films creators, cast, copyright holder, financiers, production team, and technical equipment.They to a fault felt that a film that holds a sociological connection to New Zealand should be categorized as a New Zealand films as well. Thus, they included The Piano in their list of films pointing out that though it was not filmed in New Zealand, its story was alleviate set there. The authors overly felt it the film addressed social issues pertaining to the history of New Zealand within the time frame it was set.The Piano, identified as a socially apprised New Zealander film, it is identified as suc h through its insureing of national identity and the plight of the New Zealand people. This can be seen in the event that the film is a historically place grind, and has much cultural significance. The film is often credited for its style, in that it is deemed as a historical romance and a contemporary romance in a historical setting.In his article, Lost causes the ideology of national identity in Australian cinema, caper Slavin does an in-depth analysis of the cultural connotations present in cinema when using it to understand a nation. His stance is that cinema as well as honesty have an interweaving relationship with each other that ultimately define the national identity of a nation. He further explains this in his closing statements when he says,Ideology transforms individuals into constitutive social subjects by interpelation, the Althusserian term for the seductive reverberate images of coherent identity promoted by cultural artifacts such as the popular cinema. But th is thesis follows the suggestion that it is the purpose of ideology to represent an complex number relationship of the cinematic viewer to his/her genuine conditions of existence. Those real conditions, based on psychic and social displacement are symptomatic of the Marxist interpretation of alienation In other words, representations of identity, both national and individual, are throw into critical doubt within the mythic memoirs. (Slavin, 2002).Slavins view that though ideology is used in film, national identity is virtually pendent on film narrative is real ironic, considering that he uses ideology by connecting his argument to Marxism. In the end, the interpretation of his argument, just like national identity, are both dependant on the work and views of their creator, no matter how swamp in history they.Even within this corruption of the true nature of things, Slavin acknowledges that the transitional tendency of film images, etiquette and social relations over the year s is a perfect source for study of socio-economic change. Once one grasps a clear understanding of cinemas use of ideology to modeling national culture, the only question left is, how is ideology used, and national culture shaped, specifically within these two films?In their novel, Piano Lessons Approaches to the Piano by Felicity Coombs and Suzanne Germmell, the authors work to claim a better understanding of The Piano. They point out the films originally human nature in the fact that there is no main villain. The audience is often incited to pity, empathize and despise all three main characters.Baines, Stewart, and Ada can all be viewed as human because they all have their flaws. It is wrong for Stewart to disregard his wife they way he does, though the nature of his arrange marriage is a noted statement pertaining to the era of the films plot. The audience is allowed to relate to this sociological circumstance, while at the same time despise Stewart for his treatment of Ada. Wh ereas Ada is presented as a victim of the cultural norms of her time period, she still transcends beyond this, to adopt contemporary ideals and relate to the audience. The fact that she cheats on her husband is a motive for dislike, but it is also key to the liberation she achieves from her mundane existence.The fact that she does not embody the role of the victim throughout the entire film is testament to the films reality. Baines also becomes an equally likeable figure in that his sexual advances evolve from something seemingly corrupt to an actual well(p) blown love affair. This triangular relationship between the three main characters says a lot about male and female relations during the time. The authors also correspond to Adas relationship with men to the nature of post-colonialism, which was also a big part of New Zealand at this time and also a big part of this film.The relationship between the oppressor and the oppressed is a key theme in the relationships Ada has with men . The colonial history of 1850s New Zealand is encompassed within the plot. This is an example of how ideology is used in narrative to enhance the value of a kernel more relevant. In confronting these ideals of colonization, the film came under much scrutiny. Many felt the film gave a fabricated presentation of race. During this time there were many Maori, who argued they were the product of White New Zealanders social injustice.They felt the films disregard for their cultural relevancy was a form of national mythmaking, in avoiding the argument that whites staked claim on their land. This conflict is overlooked by the plot, but the nature of its severity is still implied through the topic being completely disregarded. It is also a everyday controversy within the land that many foreign investors come and steal land, from potentially the wrong owners. By disregarding their true history, the national identity presented for New Zealand is that of a small land with a history for sal e. The connection with national identity here is cultural. This differs from the connection visible in The Truman Show. upright like The Piano, The Truman Show poses an argument larger than itself in respect to national identity, only this film speaks more metaphorically. The idea previously posed in National Identity and Self Esteem, was that national identity is largely the product of a model that is followed by a group of people. These people are so caught up in the ideals of the group, they rather sacrifice their own individual comforts for the good of the team.The authors found that these groups are also very competitive with one another, identifying their identity with that of the group and basing the groups identity on their contrast from other groups. This becomes very relative to some of Rene Girards views. In his seminal theory of mediated desire Rene Girard argues that human desire is imitative. His views is that the goals we hold most personal are actually the desires of others which we want to achieve because others want to achieve them.This is very compatible with the ideals of national culture and the cult group fallowing it incites. This is also seen incessantly in The Truman Show, the main motivation for Truman to escape the studio/town is to motivity to Fiji after his one true love. If the character personifying his school crush had never desired to move there, Truman would have never desired to follow. This is a direct personification of Girards theory, as well as an example of Morse and Halevs version of national identity. Here it is easy to see the differing way in which The Truman Show represents national identity from how it is used in The Piano.In sum, through an understanding of identity theory and New Zealand culture, we can engender a better understanding of the directors use of national identity in the films The Piano, and The Truman Show. National identity is depicted in The Piano through its cultural connotations, historical re presentation, and it authenticity to social norms.Despite all of its awards, the films inability to placate true to the ethnic history of the town is proof that it attempts to mold national identity through its filmic ideals. The directors pick and chose the ideology they identify with and disregard the other aspect of New Zealand culture. Whereas The Truman Show does not attempt to shape the national culture of New Zealand, it is virtually unidentifiable as a New Zealand film, except for the fact that is written by a New Zealander. What the film contributes to national identity is its use of the theories backing it, and its own underlying message on the nature of the conflict.What the film reveals about national identity is its addiction on the narrative of a film. The ironic fact is that it does this through its own abuse of the power. Truman represents everyman against the crowd. The complex world he interacts with is very resembling to the real world, only in his world he rea lly is the center of attention. The most intimate aspects of an individuals life, like marriage, personal goals and beliefs are all a product of a false reality.This concept is very similar to Freudian theory, Marxist theory, biblical references and even many science fabrication narratives. What the films reveals about national identity is its core nature. The entire town operates in one direction and for one purpose. Truman is the only one who is unaware of this purpose, but he still seems to follow along contributing to what he feels is the best interest of the group. His desires are compatible with his nations desires, until he breaks empty from this methodology of control. Both of these films interact with national identity theory both are products of New Zealander culture, and both are great films.Work CitedAdorno, Theodor W. and goo Horkheimer. Dialectic of Enlightenment Philosophical Fragments. 1947. Trans. Edmund Jephcott. Stanford Stanford UP, 2002.Chatman, Seymour (1978 ) Story and Discourse Narrative organise in Fiction and Film (Ithaca, NY Cornell University Press).Cheshire, Ellen. Jane Campion. Great Britain Pocket Essentials, 2000.Eric Young (Executive Producer). (1998). Hows It departure To End? The Making of The Truman Show, Part II DVD (Special Feature). Paramount Pictures Home Entertainment.Girard, Ren. Deceit, Desire, and the fabrication Self and Other in Literary Structure. Trans. Yvonne Freccero. Baltimore, MD Johns Hopkins UP, 1965.Helen Martin and Sam Edwards, New Zealand Film, 1912-1996. Auckland Oxford University Press, 1997. vi+215 pp. Illustrations, bibliography, index.Kaufman, Cynthia. Colonialism, Purity, and Resistance in The Piano. Socialist Review 24 (1995) 251-55.Sanes, Ken. Truman as Archetype. Transparencynow.com. 1996-2001. 29 July 2004. .Slavin, John (2002) Lost causes the ideology of national identity in Australian cinema. PhD thesis, Department of English, University of Melbourne.The Piano. (2007, January 18). In Wi kipedia, The Free Encyclopedia. Retrieved 2237, January 22, 2007, from http//en.wikipedia.org/w/index.php? patronage=The_Piano&oldid=101515698The Truman Show. (2007, January 19). In Wikipedia, The Free Encyclopedia. Retrieved 2233, January 22, 2007, from http//en.wikipedia.org/w/index.php?title=The_Truman_Show&oldid=101870034The Truman Show (1998) order by Peter Weir, screenplay by Andrew Niccol (Hollywood, CA Paramount).