A2 Film Exam Practice 1

“It is vital to understand the social and political context of films”. How far do you agree with this in relation to the films you have studied for this topic?’

I believe that social and political context is vital to ‘fully’ understanding a film, the key word however there is ‘fully’. The basis of understanding the most simplistic features a film is that of the characters and the narrative. If a flow and ease of understanding between these two elements of the film is created, then the film has succeeded in its job of creating an understandable story. To add to this however,  the filmmakers must allow the audience to delve deeper, by understanding the context around the films basis, a deeper understanding of the complex emotions and state of mind presented in the film can be retrieved. Upon analysis of certain films, I have found that almost all films have the potential to be added onto by social and political context.

Encompassed within a films context is the setting and time period, these two go hand in hand, as one influences the other. Understanding these two things can have an impact on the message of the film. Although, something key to remember is a fictional time and period may lead to different results. But per usual non-fictional circumstances, films such as La Haine (1995) directed by Mathieu Kassovitz, present a believable film with events that transpire in a world that people have come to know. Set in France in the early 1990s, the film delves within a time period filled with riots, prejudice and violence. This relates to real events in France, that are presented in the opening sequence of the film through new reels and found footage. Watching for the first time, the film reveals all these links to the audience, going in blind is optimal but not necessary as each part of the narrative builds on what was a very serious time in France’s history. The film in fact was made during the time in which such violence was still occurring. Being a foreign film, it gives insight into foreign audiences outside of France about the state of their country. It focuses most on the working class, possibly the most under represented class, detailing events of their struggles. Arguing that it is vital to understand this films social and political context regarding the police brutality, violence and exploitation of immigrants is key for an audience member who is willing and longing to fully understand this film.

In comparison, some films time and set can become irrelevant. When not based around certain time events or specific social factors such as in La Haine, a film relies more on the individual narrative portrayed in the film. Character dynamics outside of their socio-political lives can provide interesting chemistry that creates a unique understanding of the film. This contrast is present in ‘Rust and Bone’ (2012) directed by Jacques Audiard, a film also set in France, but in modern day and doesn’t present the need for complex social and political stance understanding. Rather than developing the characters around time and setting based events, the protagonists Stéphanie and Ali are developed around the personal factors and relationships. This opposes La Haine as the audience is introduced to the three protagonists through their relation a child who was murdered as a result of the violence in the town, their significance is linked to the context of the films time and setting.

Films such as La Haine and ‘City of God’ (2002) directed by Fernando Meirelles and Kátia Lund, are very similar on the surface. They both include gang culture, gun violence, drugs and willing protagonists who can’t help but get caught up in the violence. Comparing the two from afar it can seem as if the two films are the same. However by incorporating social and political context into each, the audience can see that different perspectives were integrated into each in order to form the final product. The point which films are trying to make can often be hidden or excluded from an audience members thinking after factoring in all the violence and emotion within a film, although the key differences between City of God and La Haine lie in the intentions of the characters in each. Comparing a third world country such as Brazil, the setting of City of God, to France is quite outstanding. In City of God, each protagonist wants something different, Lil’ Zé want domination and power, Rocket wants to leave the favelas and work, this leads an exciting development of narrative. Without understanding the reasons behind the character’s motivation, the audience loses a piece of the film that was intended to be understood.

From these examples I can conclude that understanding social and political context within a film is situational. Depending on the purpose of the film, filmmakers can try and incorporate as many contextual issues and factors as possible, this adds to the effect of the films message and possibly creates deeper relations between characters. Context is in place in order to justify the things which characters do. This however is if they are motivated by their environment as they are in both ‘La Haine’ and ‘City of God’. Comparatively in ‘Rust and Bone’, the characters are not a direct result of their environment, or at least that is not the main focus. This film is particular wants the audience to focus on the relationships that develops between the character and the individual problems they face. Rather than looking on a larger political or social scale for answers to the character’s questions, the audience have to look directly to the character, what within their lives or personalities drives to act the way they act. This overall shows that social and political context is not vital to understand ‘all’ films, it is a subjective process that depends on the intention of the filmmakers.