Student Response: Fight Club

Explore some of the ways in which placing your chosen film within a broader critical framework has helped to develop your appreciation and understanding of specific sequences.

I have found Fight Club to be an intriguing film to discuss in terms of critical approaches, although it has also allowed me to come to a conclusion that not just one form of critical analysis can be used to explore each sequence. 

For instance the opening credits of the film suggest a level of psychoanalysis will be needed to understand the film, this is due to the CGI effects from within the brain. The camera follows the nerves within a persons (who is later revealed to be the narrator) head, with sparking synapses; suggesting that the film will uncover some form of mental dysfunction. However this is not explored again until the latter part of the film. 

Instead the initial establishing sequences from the suggest a less psychoanalytical approach is needed and something such as the crisis of masculinity can be used to explain these. The men in the film have become overpowered by consumerism, trading in their masculinity for a more feminine generalisation. This is all presented during one scene within the narrators apartment, there is a pan across the room showcasing his furniture alongside their catalogue descriptions. Jack then explains how he has become a “slave to the ikea nesting instinct” showing just how much dependency his character and males within society have become on consumer products usually associated with female behaviour. During this scene the narrator also tells us, whilst on the toilet, that where he used to read pornography now he reads furniture catalogues. The pornography represents a masculine trait of sexual desire the fact that the narrator seems to have lost this in replace of furniture magazines is again a clear link to the loss of masculinity within society. However it is possible that this could be linked to Freud’s psychoanalytical theory of the self, and how the narrator feels the need to suppress his sexual desire (the ID) in order to fit in within society. Without knowledge of the crisis of masculinity it would have been difficult to pinpoint a reason behind Fincher’s choice of mise en scene and dialogue, understanding this has enabled me to delve much deeper into the potential meanings of the text, and potentially debate it as being polysemic. 

As the film progresses the crisis of masculinity ceases to become a problem, or perhaps is just overridden by further critical approaches which can be discussed. I have found it very useful applying Freudian theory to particular scenes once Tyler Durden has been introduced and believe it to have stemmed from the crisis of masculinity. The mise-en-scene of the house is used as a visual metaphor for the narrators brain, linking towards the sparking synapses in the opening credits. The mise-en-scene of the house is dull and dreary, it lacks consumerised nature of his old apartment and only contains the bare minimum. “It's only after we've lost everything that we're free to do anything” is a quote from Tyler Durden which proves an ideology of the film: once Jack has lost the consumerism from his normal life as shown through his apartment he is able to become “free” presented in the minimalist mise en scene of Tyler’s house.

However, this “freedom” comes at a cost, following Freud’s theory Tyler represent the ID, the unconscious desires. Once Jack has lost his apartment on consumer products Tyler is introduced, he takes over Jack’s life, and his brain. We can see this in the house whilst Tyler and Marla are having sex. Jack is working out, he is letting his ID fulfil his desires in the floor above him and literally in the back of his mind. Whilst we hear Marla’s diegetic orgasms the ceiling falls down next to Jack, the house is falling apart and so is his brain. Without a psychoanalytical approach to this scene or potentially any of the others featuring Tyler Durden it becomes very difficult to appreciate what he represents and his affect on the narrator.

Due to the polysemic nature of the text it is difficult to apply one critical approach to the entire film and so is necessary to consider these within particular sequences. The film only superficially covers each idea is explores, including others not I have not discussed such as Marxism and Post Modernism, and so it is useful to understand more than one approach when exploring the film. This has been a criticism of the film; that it lacks substance within the critiques it makes on society, however through my analysis I have personally come to the conclusion that this is Fincher’s way of explaining to his audience how the American society of the time is filled with such an extensive amount of problems.

Student Response: Urban Stories

How far does the impact of the films you have studied for this topic depend on distinctive use of film techniques?

They’re many different techniques used to create an impact such as the black and white colouring in La Haine. It has polysemic meanings such as race and that things are never just black and white. The use of the handheld camera creates conventions of cinema verite; the characters are treated like they’re in a documentary (the use of real riot footage at the beginning adds to this and shows the conflict straight away). In the playground scene, Hubert comments that ‘this isn’t Thoiry’- they’re treated like animals and because of the tension between the poor and the police, the characters are socially alienated. The low angle shots on the three by the camera crew impact the audience by making them feel sympathy. The camera is often placed behind the group influences the audience by making them feel part of the group, looking into their way of life. The repetition of the close up on Said’s eyes in the opening and closing scenes portray a sense of individualism and a ‘see things from my point of view’ stance, this comments on the characters lack of opportunity and their social isolation and is a distinctive feature of the film. In the same opening scene the camera also creates a visible divide between Said and the police, immediately showing the tension and conflict between the youth and the police that was prominent in 90’s Paris due to the assimilation policy of the French government. Unless the audience were aware of this political situation though the full impact of the film’s message may be overlooked.

The scene in which all three are sat around mundanely throwing stones creates verisimilitude as they’re doing realistic things. The shot composition in the bathroom scene impacts the audience as it displays the relationship between the three characters clearly, the shot framing places them in a strategic triad with Said being predominantly in the middle; acting as the peacekeeper. The characters could even possibly represent the French flag with Vinz representing liberty, Said for fraternity and Hubert for equality. And although showing a brotherhood it could be seen as a constant power struggle with Vinz wanting Hubert’s power and respect, Hubert becomes active whereas Vinz becomes passive. The ticking clock shows how short life actually is and how so much can happen in 24 hours. The time is limited and this circles around the main theme of feeling trapped, how long will Vinz be able to control his anger in that time period. In the ending scene the clock goes forward by 1 minute, it only takes 1 minute to start a big conflict. The clock represents revolution- this ever-turning wheel of mixing race and revolution.

In City Of God, there are many distinctive film techniques used to take a particular point of view such as the chicken chase scene in the opening where the protagonist Rocket is caught between the gang of hoodlums and the police, this is shown by the wide shots, use of depth of field and character positioning. The audience are impacted to take Rocket's side, through the voice-over narration, as he does not want to become a hoodlum and would rather shoot using his camera than a gun, essentially saving him from the city of god curse. In the opening sequence, through the diegetic sound, the first thing we hear is a knife sharpening; it essentially represents how the residents of the favelas are living on the edge of a knife and sets the tone for the remainder of the narrative. During Lil Dice’s massacre there is a also wipe transition to show the literal wiping away of people. A similar distinctive technique is used in Chungking Express (1994) as Faye wishes to clean up the cop’s life and wash away his past by constantly cleaning around cop 663, either outside the Midnight Express diner or his apartment. This is more optimistic than the other two films though, in terms of its social message as the director, Wong Kar-Wai, wanted to convey a positive message of cultural change for the handing of of Hong Kong to Chinese rule in 1997

The use of the changing colour hues in City Of God also makes an impact as it represents the characters social situation. The residents of the favelas smoked weed in the 60’s, the lighting is high key and orange, the movements are also a lot slower. Then in the 70’s with the lack of job opportunities the characters are hooked on cocaine and the actions are speeded up. After Benny dies, the tone becomes more low key as all the positive vibes have been sucked out. Lil’ Ze is shown as sick and corrupted through the mise-en-scene in the club scene, he is wearing black and the lighting is green connoting his bleak outlook and sickness. During the final scene where Lil’ Ze gives the guns to the Runts, a distinctive technique, the Dutch angle, is used to show that Lil’ Ze is in power and that he is handing power over to them. As the Runts walk up the stairs it is symbolic of them ascending to power and foreshadowing Lil’ Ze’s downfall. The use of non-known actors throughout also increases the level of verisimilitude. As a consequence all of the chosen techniques used in the urban stories I have studied in some way contribute to the impact of the films. However a certain amount of contextual knowledge is crucial in understanding the full social and political background to the events.

Leavers Message 2014

Thanks to all A2 Film students for their hard work, effort and support this year. It has been most appreciated. I hope the results in August are what you expected.

I look forward to hearing of your continued success in the future.

Please take a moment to watch this video. 

Urban Stories: Exam Approaches & Discussion Points

2013 past exam questions section a urban stories paragraph planning templates 

Summary of urban stories 2014 from Naamah Hill

'Quotes': Experimental & Expanded Film/Video

Avant-garde: Quotes

Here are some quotes from a variety of critics, artists and philosophers that may assist your perspective or viewpoint on experimental or avant-garde art. They may help you to form a more critical interpretation of the films we have studied for this topic.

Some certified nut
Will try to tell you it’s poetry,
(It’s extraordinary, it makes a great deal of sense)
But watch out or he’ll start with some
New notion or other....
John Ashbury (Poet)

There is a certain kind of person who is so dominated by the desire to be loved for himself alone that he has constantly to test those around him by tiresome behavior; what he says and does must be admired, not because it is intrinsically admirable, but because it is his remark, his act. Does not this explain a good deal of avant-garde art?
W.H.Auden (Author)

An avant-garde man is like an enemy inside a city he is bent on destroying, against which he rebels; for like any system of government, an established form of expression is also a form of oppression. The avant-garde man is the opponent of an existing system.
Eugène Ionesco (Playwright)

Avant-gardism is an addiction that can be appeased only by a revolution in permanence.
Harold Rosenberg (Art Critic)

The difficult and risky task of meeting and mastering the new—whether it be the settlement of new lands or the initiation of new ways of life—is not undertaken by the vanguard of society but by its rear. It is the misfits, failures, fugitives, outcasts and their like who are among the first to grapple with the new.
Eric Hoffer (Philosopher)

Urban Stories: Student Response (Brief)

Explore how stylistic choices contribute to the representation of the urban experience in the films you have studied for this topic.

In both of the texts stylistic features play a vital part in representing the urban experience of each character. In La Haine, the urban lifestyle is often explored using camera angles and mise en scene. In the escalator scene, the stereotypical middle class ‘le pen’ voter comes down the stairs, showing a visual decline down to the character’s level. The binary opposition between rich and poor is explored as the camera is looking up at him, just as the character’s are looking up at the rich in society. As well as this, they can not go up the escalator, showing the ‘glass ceiling’ effect of urban experience. This visual conflict is also explored using mise en scene. Vinz is pictured looking through a railing which shows how he is imprisoned by society and therefore imprisoned by his urban lifestyle. It is these stylistic choices that represent urban experience as being a place in which the character’s can not escape : they are looking up at the rich and judgmental in society and have no way of ‘rising up’ to the top of society.

Sound is also a key factor in La Haine that subsequently creates an accurate representation of the urban experience. The ticking sound shows the passing of time, and how the character’s are forced into doing nothing by the society they live in. This compares well with ‘City of God’ which also uses a ticking sound, showing the passing of time as a negative aspect of the urban experience.

This compares well with the use of stylistic features in ‘City of God’. Similarly to La Haine, City of God uses a visual binary opposition to show the lack of escape from the ‘favelas’. In the final scene, Rocket is standing between the gangs and the police and the camera pans around to show he has no escape. On one side of him are the police and the other side is the gangs.

Stylistic features are also used in the editing of the film. During the scene in which Lil Ze rapes Knockout Ned’s girlfriend, the visuals fade In and out. On a literal level, this shows the fading in and out of consciousness. Metaphorically this scene shows how the weaker people in society are fading in and out, the powerful members of society ‘raping’ them and keeping them in the same place.

A stylistic technique used in both La Haine and City Of God is that they both look like a documentary. In La Haine they use news footage, and real riot footage, in City Of God they use a lot of handheld camera, at the end of the film we also see real news footage of interviews with the people the characters are based on. By doing this it represents the reality of the situation all the characters are in and real life situations and problems are captured making the film reflect contextual issues.

Another stylistic technique used is the use of colour. In City Of God the beginning of the film is very vibrant and colourful especially in the flashbacks from the 1960’s when everything was much more open and clean. As the film progresses into the early 70’s the colours are not as yellow and sunny and the favelas are much more built up and is very much a concrete jungle. This represents how hope is gradually being lost. By the end of the film when Benny dies there is hardly any colour left and everything is very dull. This shows how all hope is lost. This is supported through many camera shots being upside down showing how bad things have got and their world has literally been turned upside down. La Haine is all in black and white, this represents that the film is about race minorities. The fact that there are three characters and three colours in the French flag yet the film is in black and white represents that Hubert, Vinz and said are not considered to be French. Although the film is set in France, their attitudes are very westernised, and their culture is mixed. This is proven through the language they use such as ‘Jerk’ as well as the music they listen to and the clothes they wear.

'City Of God': Task

Section A: Specialist Study: Urban Stories − Power, Poverty and Conflict

Focus on 'City Of God' + Mention 'La Haine'/'Princesses'

Either,

5. Discuss some of the techniques used in your chosen films to provoke audiences into taking a particular point of view towards characters and key events. 

Or,

6. How far can it be argued that your chosen films provide a 'realistic' representation of the people and places they focus on? 

Strong Exam Responses:

• Include detail
• Don't generalise
• Use film language
• Discuss wider contexts (social/political/cultural)
• Are written with confidence
• Understand that film is a visual language

Urban Stories: 'Favela Rising' (Documentary)

Favela Rising is a 2005 documentary film by American directors Jeff Zimbalist and Matt Mochary. It was produced by Sidetrack Films and VOY Pictures. It debuted at the Tribeca Film Festival on April 24, 2005 where it won the award for Best New Documentary Filmmaker for Zimbalist and Mochary. The film's look at life in Brazil's slums won it further awards such as Best Documentary Filmfrom the New York Latino Film Festival and Best Feature Documentary from Big Sky Documentary Film Festival. The film won over 25 international festival awards and was short-listed for an Oscar.

The film focuses on the work of Anderson Sá, a former drug trafficker who establishes the grassroots movement Afro Reggae. The group, Grupo Cultural AfroReggae (AfroReggae Cultural Group), was initially intended to draw in adolescents interested in a number of musical genres. These genres include, but are not limited to soul, reggae, rap, and hip-hop. Early on, Grupo Cultural AfroReggae offered a different type of education to the youth it attracted. This education included workshops focusing on dance, recycling, soccer, percussion, and more. The group aims at using music and education to better the lives of youth and prevent further growth of gangs. Grupo Cultural AfroReggae believes that through education, there is a greater likelihood that adolescents will not get caught up in drugs and gang violence.

Urban Stories: Exam Task Questions: City of God/La Haine/Chungking express

• Condense 'Urban Stories' into 6 images/screenshots - download from google images and arrange in a logical way. Select specific key points of the films that represent your own interpretation of the chosen question.

• Choose 6 words or short phrases that explain your own understanding of the films in light of the chosen question (below).

• Write a concise critical response (400-500 words) for 1 of the questions below that explains your understanding of the key issues and debates of the topic.

FM 4: Section A - Specialist Study: Urban Stories - Power, Poverty and Conflict

Your answer should be based on a minimum of two films.

Either,

5. Compare the attitudes to poverty conveyed in the films you have studied for this topic.

Or,

6. Explore how stylistic choices contribute to the representation of the urban experience in the films you have studied for this topic.

(For good practice examples refer to the posts for 'Fight Club' student work)

FM4 - Exam Revision Guide

You may find some aspects of this Revision Guide useful in preparation for the summer exam. Section A: Urban Stories and Section C: 'Fight Club' are particularly relevant, but the notes on Spectatorship: Popular Film may also provide some insight into approaches for our study of Spectatorship: Experimental/Expanded Cinema.

FM4 Revision Guide

View more PowerPoint from josiebryce

Urban Stories: Useful Site/Notes

Very Good Notes on Section A: Urban Stories

FM4 - Single Film - Critical Study: Fight Club

Another useful resource on 'Fight Club' can be found here. Download it to assist your understanding of the critical approaches to the film.

Extract
Throughout history has existed a prevalent theme of men and women being reliant on one another, despite the significant—though changing, and usually artificial—inequalities in areas such as education, career power, and political influence. Marc Antony of Rome stabbed himself to death after hearing rumors that his lover, Queen Cleopatra of Egypt, had committed suicide; she, after receiving news of his death, induced a poisonous snake to bite and kill her. Queen Victoria’s reign over England was highly influenced by her husband Prince Albert, and she went into mourning for 40 years after his death. Bonnie Parker and Clyde Barrow, famous criminals during the American Depression, repeatedly faced a threat of violent death during their spree of robberies, and eventually were killed together as a result of their crimes. John Lennon and Yoko Ono collaborated on many musical and artistic projects until his death, after which she founded three major memorials for him (Biography.com). These couples all display a similar trait: a certain degree of dependence on one another, suggesting that a combination of masculine and feminine qualities are needed in order for each person involved to achieve their full potential.

This notion is still present in modern culture, as evidenced in the film adaptation of Chuck Palahniuk’s novel Fight Club—a film which is, ironically, loosely associated with male independence. I argue in this essay that Marla Singer and the narrator’s (Jack’s) respective femininity and masculinity are dependent on that of the other. Jack cannot be masculine while Marla exhibits overly masculine traits; Marla cannot be feminine while Jack exhibits overly feminine traits. Thereby, this film exerts the necessity for long-established gender constructs, suggesting that two people of opposite sex cannot peacefully coexist while both display the same stereotypical gender traits, and that neither can achieve proper ethos until they are together and exhibiting their assigned traits. This argument is presented in three points. First, I describe the film adaptation, its background, and my feminist methodology of representational critique. Second, I focus on three elements in the film: Jack’s feminine traits of borderline-obsession with furniture and the need to cry; Marla’s masculine traits of fearlessness and brazen obscenity; and their transformation together throughout the film. Third, I conclude with the implications of this argument on rhetorical theory, particularly in terms of traditional gender constructs.

FM4 - Single Film - Critical Study: Fight Club

Read and download this academic paper that discusses whether Tyler Durden (Brad Pitt's character) in 'Fight Club' is a marxist. The heavy influence that Marx clearly had on Durden is evident throughout the entire movie and, despite the problematic Project Mayhem, it is the driving force behind many of Durden’s ideas.