Beasts of the Southern Wild- 20 markers
- To what extent have you been able to use an ideological framework in the appreciation of Beasts of the southern wild (20)
Beasts of the Southern Wild consists of a varied ideological framework, including multiple social and political issues surrounding the community of the Bathtub dwellers and the modernised American world.
Firstly one social issue that stands out in the middle ‘arm wrestling’ sequence is the idea of gender and strength, in which Hushpuppy is repeatedly defined in masculine terms to fit the ideal male archetype. An example in this scene is within the dialogue when Wink says ‘I gotta get strong’ and ‘no crying man’ as he encourages his daughter to chant ‘I’m the man’, wrongly suggesting that in order to be strong she cannot show emotion as it is a sign of weakness. During this part of the scene the camera uses a tracking shot to shift between Hushpuppy’s and Wink’s POV, however always keeping Hushpuppy in shot to show the heightened camera movement, creating meaning around the difference in Hushpuppy and Wink’s unorthodox relationship. However this is could also be viewed as dismissive of traditional gender roles as the film celebrates Hushpuppy on the basis of her rugged individualism, a particular American ideal.
Another ideological value that could be considered important in the film is the environmental impact of climate change. For example in the opening sequence, in hushpuppy’s voiceover, she says ‘they’ve got fish stuck in plastic wrappers’, perhaps criticising urbanised America for the cause of climate change. This is also supports in the opening sequence as Wink refers to the oil refineries and the industrialised land across the levee as ‘ugly’ suggesting how the development of modernised society is responsible rather than those living in the remote location of the Bathtub. Later on commenting on the effects of climate change on animals, such as the Aurochs being represented as powerful and tough creatures, as they are set free due to the icecaps melting.
Similarly the compassion of the relationship between nature and urbanisation is explored in the opening sequence as Hushpuppy holds the animals up to her ear and listens to their heartbeat in a closeup, explaining how she talks to them, possibly conveying how she relates to them in the wild more and feels as though she is one of them. Similarly, the use of the high angled tracking shot from Hushpuppy’s POV showing her perspective of the animals, creates meaning as it demonstrates how Hushpuppy could sympathise more with the animals and she feels she can relate to them being wild and sometimes portrayed as lonely in nature. This ideological reference demonstrates how the communication between animal and human is an uncommon thing is the urbanised 21st centaury and how animals are seen as things that can be tamed rather than our equals.
In terms of political ideology, modern mainland America is criticised as a capitalist society, exampled in the opening sequence as the Bathtub dwellers are seen setting of fireworks and celebrating in a party manner, reflecting a parade culture differently to America. Capitalist ideologies can be taken from this as the bathtub has as sense of hedonism, foreign to American society living in a materialised world of success, money and possession s, referred to as the ‘dry world’ by Hushpuppy in the voice over.
Political ideologies particularly stand out in Beasts of the Southern Wild, specifically referring to Libertarian views, such as personal autonomy, suggesting that the bathtub dwellers should live life on their terms without interference from the state, which can be shown in the opening sequence as they are celebrating in a parade, as well as the fact that the adults are drinking while the babies are crying which is something that would be frowned upon in America, however encourages in the community of the Bathtub. This links to the other Libertarian value the distrust of authority, which can be seen specifically in the hospital scene as the care- workers and government authority personnel are villainised and portrayed as violent and depriving the Bathtub dwellers of their self-respect and rights of freedom.
In terms of social ideology, as well as concept of gender, age is a common theme that runs throughout the film. Since this film is a bildungsroman, the film critiques the dominant values of age with the independent and mature performance from Hushpuppy however still suggesting that there still stands dominant stereotypical ideology as Wink says stupid little girl’ undermining Hushpuppy due to her age rather than her moral/ mental strength she continues to show. Within this active viewers may see the Bathtub as having negatives effects on the young, however is also simply used to show how the youth have a certain dominance over the adults and are represented as a symbol of hope and changing attitudes of the future of the Bathtub. An example of this is at the end of the film in the ending sequence, Hushpuppy leads the Bathtub dwellers over the levee using a long shot to show all the characters in the frame, emphasising them coming together and agreeing on the same morals/motivations. This demonstrates how they closing the divide between society and making a change to their future lives.
2. Explore how far Spectators respond in the same way to a film. Illustrate your answer by close reference to your chose film. (20)
Spectators may not respond in the same way to the messages and values of the film Beasts of the Southern wild due to Hall’s theory of encoding and decoding responses which classifies audience reading into three categories consisting of a preferred reading, oppositional reading and negotiation reading.
Firstly the preferred reading may view the Bathtub dwellers as outcasts from society, who, however, have created a high-spirited and natural community which live differently to the modern American world, which throughout the film is continuously criticised and blamed for the issues of the world , such as climate change an capitalism. In the opposing sequence spectators may be influenced by passive viewing to agree with this the Bathtub appears positive and upbeat showing as sense of community. This is inferred through the use of fireworks to example a range of high key colours and contrasts, creating meaning to suggest that their lives are seen as abstract and colourful. As well as, in terms of cinematography, the use of handheld and heightened camera movement reflects the excitement and parade culture spirit, and the non-diegetic upbeat home music mirroring the happiness and thrill of living in the bathtub. Also in the opening sequence spectators may recognise the political messages that are implied, involving the critique of the modern world and urbanisation that had led to the emissions of fossil fuels and climate change. In the opening sequence, in the voice over, Hushpuppy says ‘fish stuck in plastic’. This may be seen as the preferred meaning and active viewers may use cognitive theory to relate the film to current political events, including climate change, and support the Bathtub by blaming urbanisation.
Spectators may also think in similar terms, using the preferred reading in the hospital sequence as Hushpuppy, Wink and the other bathtub dwellers are seen forcefully taken from their homes, being deprived of elf respect and their own morals. This may be seen as the preferred reading based off of political events post- Katrina which was increase audience sympathy for those in the Bathtub. After Katrina in 2005 there were many controversies over the delayed government response and the lack of preparation they took before the storm, especially for those living in low income areas like the Bathtub. In the Hospital scene the government authorities are villainised and represented as lacking emotion or sympathy for the dwellers, thus criticised the government and highlighting the class divide issues posed at the time. This is emphasised through the use of a high camera angle, showing the government people as lesser and making them appear as unimportant and people who should be looked down on, creating a negative response to the individuals within the audience. On the other hand it may be argued in an oppositional reading that the hospital workers are unnecessarily villainised and are in actually fact trying to help the dwellers, unlike the authority workers which appear forceful and dominant.
On the other had the spectator may agree with the oppositional reading and against the messages that were initially intended by the film maker. This could be inferring how the Bathtub dwellers aw seen as outlaw-ish and dangerous, while not providing the audience with an accurate representation of what people from poor, underdeveloped communities are actually like. For example in the opening sequence the Bathtub dwellers are represented as reckless and neglectful as the adults are seen drunk while the babies cry and are left alone, an ideal that is heavily frowned upon in modern civilisation. This links to how Hushpuppy is allowed by Wink to run through crowds of people with fireworks at just the age of 6, putting herself and others around her at risk, suggesting the community has no rules to the extent of becoming dangerous for the children’s safety and wellbeing. This is shown through Hushpuppy’s perspective using heightened camera movement and low camera angle at her eyeline as she interacts with the crowds and world around her, possibly making the spectator fee less trustworthy of the narrative as it’s from a child’s POV. As well as this the unorthodox relationship between Wink and Hushpuppy is seen in the arm wrestling scene. Within this Wink offers Hushpuppy a drink of alcohol suggesting the community values have become immoral and independent for children of a very young age, referring back to old fashioned ways of parenthood. Overall this point shows how the parenting style of those in the bathtub is questioned and doubted by civilised America.
Next, Spectators may opt for an oppositional reading due to poverty being romanticised an glamorized through the perspective of Hushpuppy. An example of this is in the opening sequence when the parade is shown, demonstrating the high-spirited and upbeat parade culture an nature of the bathtub, thus representing poverty as something with no limitations and something which people are meant to embrace and enjoy. On the contrary this may be seen as false information, given that many of those in poverty suffer from hunger and lack of care or happiness. It is suggested that this film potentially masks the unpleasant realities of poverty and growing up with it, and how the Bathtub dwellers blame the government because of it.
Lastly, a spectator with a negotiated reading might consider and understand the danger of living in the bathtub, especially sympathising with Hushpuppy at such a young and vulnerable age, as well as showing concern for those suffered by the floods. However still viewing the bathtub community spirit as raw and genuine, through the use of the documentary style footage using a handheld and filmstock making the camera grainy. This was used to show the film as realistic and raw, looking into the personal lives if the characters. A negotiate spectator may also sympathise with those of an oppositional reading suggesting that it is understandable the adults of the bathtub want to live like this, however it may not be a best suited environment for children like hushpuppy.
Emma Coe Film Studies 