A2 Film Exam Practice 3

‘To what extent can the films you have studied for this topic be accused of reinforcing rather than challenging stereotype?’ (35 marks)

The basis of films is often the stereotypical assets that the characters and their lives are based around. In order to set a film apart from others, filmmakers often challenge stereotype- this can lead to a more unique narrative and can appeal more to an audience.

The pinnacle of film storytelling can best be found in Western films and their story of the everyman. The average, often-white man has been centre frame in cinema for decades, along with their plights and struggles. However poverous and un-wielding situations as presented in films such as ‘La Haine’ (1995) directed by Mathieu Kassovitz, can have a more emotional and powerful effect on the audience. Kassovitz challenges the ‘everyman’ stereotype by placing the audience in front of three mixed immigrant protagonists. I believe that his choice of protagonist is pivotal in this films impact. The film followed a huge conflict in France that influenced the social and political situation in the country. The protagonists represented three sectors of immigrants that flooded into France, the Jewish, the Africans and the Arabs. This trifecta helps to show a wide range of people within the country and how all their lives are equally affected by the turmoil. While Vinz is a white Jew, his plight is not of the everyman, he struggles much like the rest while living in The Projects (Le Baneau). This range of characters opens up the ability to explore France from a new perspective. While most of cinema focused in France looks at the beauty of Paris, the stereotypical scenic appearance links to its connection with love and romance. Once again this film challenges the stereotypes of the area by showing the underbelly of France, using very few female characters, and straying away from the romance factor that Paris is so well known for. In particular, the expectations of romance are subverted by showing the hesitation that the boys feel when approaching women, and there stunted approach and their eventual dismissal when they try and approach them. In a particular scene in an art gallery, the protagonists Hubert, Saïd and Vinz approach two women in an attempt to woo them. Their failure lies in their inability to communicate in a sophisticated manner. The un-stereotypical manner shows that the protagonists are not lime the typical suave men of France.

A strong male-female divide female divide can be found in films, often depending on the films genre or the topic, a certain gender is more prominent. Most regularly, men are the main focus, as their stories seem to hold the limelight throughout history.  Women on the other hand, in many films, are treated as second-class characters with very little focus or dimension. This is due to the fact that there purpose in films is sometimes purely for attraction or as a romantic interest. This underlying sexism in film, especially in regard to crime, is perhaps indicative of the kinds of stories that filmmakers think have significance, or perhaps don’t see the kinds of women that are present in all situations of turmoil. Films such as ‘City of God’ (2002) directed by Meirelles and Lund, reinforce the male dominated stereotype in crime centric films. While this film takes place over the 60s and 70s and there is a minor female presence, all the women in the film are used in order to satisfying the romantic elements of the film. Firstly Angelique is used as an interest for Rocket and his early motivation. His need to satisfy her leads him into a situation in a drug den that is used to further advance the story. These elements together not only help to progress the story but to develop the characters and integrate them into the story.