Are films ideological in the sense that they mirror they society in which they are created? Or are they ideological since they discuss and provide certain perspectives on this society? Is it possible that there are different ideological projects in the same film depending on which of these perspectives one chooses?
In the paper; these questions are examined on a theoretical level as well as through examples from the films King Kong; Pretty Woman and American Psycho.
Inter: A European Cultural Studies : Conference in Sweden 11-13 June 2007
Baudry, Jean-Louis (1970/1986) “Ideological Effects of the Basic Cinematographic Apparatus”. In: Philip Rosen (ed.). Narrative, Apparatus, Ideology. A Film Theory Reader. New York: Columbia University Press pp. 186‚Äď298.
Creed, Barbara (1993) The Monstrous-Feminine. Film, Feminism, Psychoanalysis. London: Routledge.
Laclau, Ernesto & Chantal Mouffe (1985/2001) Hegemony and Socialist Strategy. Towards a Radical Democratic Politics. London: Verso.
Purvis, Trevor & Alan Hunt (1993) “Discourse, Ideology, Discourse, Ideology, Discourse, Ideology...”. In: The British Journal of SociologyVol. 44 No 3 pp. 473‚Äď499.
Rony, Fatimah Tobing (1996) The Third Eye. Race, Cinema and Ethnographic Spectacle. Durham, NC: Duke University Press.
Ryan, Michael & Kellner, Douglas (1988) Camera Politica. The Politics and Ideology of Contemporary Hollywood Film. Bloomington, Ind: Indiana University Press.
Teaching ‘Pretty Woman’ (2003) Discussion, WMST-L File Collection. http://userpages.umbc.edu/~korenman/wmst/pretty.html.
ŇĹiŇĺek, Slavoj (1989) The Sublime Object of Ideology. London Verso.
ŇĹiŇĺek, Slavoj (1992) Enjoy Your Symptom! Jacques Lacan in Hollywood and Out. New York: Routledge.
ŇĹiŇĺek, Slavoj (1994) The Metastases of Enjoyment. Six Essays on Woman and Causality. London: Verso.
American Psycho (Mary Harron 2000)
King Kong (Merian C. Cooper and Ernest B. Schoedsack 1933). King Kong (Peter Jackson 2005).
Pretty Woman (Gary Marshall 1990).