Class Notes on La La Land’s backlash due to socio-political contexts, gender, representation and ideology:
2017 Oscar Chaos: Moonlight vs La La Land
- Slow burn/ backlash reaction after winning multiple awards
- Faye Dunaway and Warren Beatty announced this award as it was the 50th anniversary of Bonnie and Clyde- both film makers were very humble about the situation
- Moonlight was considered more modern whereas La La Land was seen as more traditional
- Moonlight had more socio-political context that La La Land didn’t.
- Moonlight challenges cultural stereotypes of race and sexuality- about a young black and gay man
La La Land Socio-political context:
- La La Land glossed over racial conflict in LA and ignored relevant black community issues
- 1992 LA riots over police brutality against the black community- Rodney King
- Ignored the fact that Jazz came from oppression
- Ignores racial conflict
- White saviour narrative on a traditional black art form
- Marginalises certain cultural groups- African American, gender stereo-types and jazz stereo-types
- Art vs Politics- nostalgic homage to past times but for many a white dominated discourse
- Divorce of Jazz from black history- white dominated
“There lies a profound irony in liberal white folks heading to La La Land to repair after a political season overflowing with nostalgia of white supremacy”- Geoff Nelson, Paste Magazine referencing Trump
Is La La Land a mainstream film?
La La Land mainstream genre film but distributed by Lionsgate (Indie/ mainstream company)
What makes it a mainstream film?
– A list actors in lead roles
– Well known supporting cast- John Ledgend
– Set in LA/ Hollywood
– Soundtrack (make money on film as well as soundtrack)
– Effects and editing (distinctive colours and themes)
– Shown at multiplex cinemas
– References to other mainstream films
What makes it independent?
– Form of music is Jazz music
– Referencing Jacques Demy films
PRODUCTION CONTEXT:
– Famous actors/ well-regarded directors
– Safe genres (comedy, drama, romance) can be marketed to a large demongraphic
– Simplistic single strand narrative- following dreams and the American dream
– Wide distribution by Lionsgate (Makes up to 2% of Hollywood)
– Critical and commercial success for Lionsgate (one of most successful films made- first screened at Venice film festival)
CRITICAL REVEIWS/ OPINIONS:
- (+) Escapism- takes you away from US politics and unrest in America
- (-)White privilege- not a choice for those who are actually suffering in LA
- (-) Ignores multi-cultural side of LA- disappears after the first opening sequence
- (-) Glosses over Jazz history as a traditional black art form- Kieth being the black character with a speaking role / ignoring the LA riots
- (+) Realistic version of American Dream- sacrifice- success over relationships
- (-) Ambiguous/ Poor representation of La and Hollywood
- (-) White characters from suburban homes/backgrounds
- (-/+) Not a traditional musical
IDEAOLOGY: MEANING AND RESPONSE
– Concept of jazz as a genre lies at the heart of the film
– Chazelle accused of ‘ideological snobbery’ (most fans agree with Keith that traditionalism is not the best way to revive the genre)- how can you revive Jazz when your stuck in the past
– Opositional readings using Hall however that this is primarily mediated entertainment, a nod to Hollywood within an escapist, high concept ‘Oscar wanted diegesis
– American Dream ideology evident through both protagonists- Seb gets his club in the end (and what could’ve been)
GENDER:
– Mia- see the world through her eyes, showing her hard work and auditions. Opening and ending sequences are shown through her persepective showing how the narrative his mainly focused on her journey
-Seb is a white hyper masculine character
– SEB- Mia is always watching Seb perfrom at his gigs- being pushed out of the crowd- Seb doesn’t go to her play
– Celebrates being a spectator as Mia then takes this as motivation to pursue her own dreams
– ‘Someone in crowd’- being memorable to get a role- using sexuality and appearance
– Use of makeup is performative- traditional female stero types- thin waist, makeup, dresses, bright colours
– Both genders are hard working and focuses- Seb unemployed while Mia is working
– At end we see Seb in his job but Mia just having fame and not actually working (family, wealth). Is Seb’s job more priority
– Seb has small dreams/ personal dreams whereas Mia has bigger goals
– Mia conformed to a more traditional lifestyle at end (older husband, family)
– Mia is framed for the male gaze and her struggle is secondary to Seb’s
– Seb is more physically active and more emotionally driven to achieve goals. Mia has no sense lacking drive and aspiration- but acts off screen (auditions)
-Seb constantly explains things and introduces her to new experiences
-Seb is more energised where as Mia is more relaxed and layed back
– Seb expects Mia to drop everything and follow him in his career
– Femenist reading- is mia prioristised love or career
– Mia has less dialogue- framed as reliant on Seb and giving her advice on her acting- Seb is seen teaching Mia
– Negociated reader has placed La La Land withing a cathartic framework- an antidote to right wing politics and Trump
Is Mia Sexualised?
– 5 years later- first thing seen is her bare legs- sexualised for fame
– Focuses on her performance and career rather than her appearance
– Seb comically sexualised- eg at the pool part or photoshoot
SPECTATOR/ POSITIONING:
– Positioned with Mia and the world through Mia’s eyes going to auditions- more intimate scenes like the audition sequence
– Gig sequence- focus on Mia reactions / debated scene
– Mia is seen more as a spectator for Seb- linking in to gender role and therefore see Seb as a more dominant character
– In terms of camera angleing in the dinner sequence it is up to the audience to decide whether they agree with Mia/Seb’s intentions. Mia could be seen as jealous but Seb could be seen as restricting Mia’s career- half way through the film
– Mia is more of a character in the narrative whereas Seb acts as a mouthpiece for explaining Chazelles ideology
– Ending sequence a mixture of both perspectives- more so Mia as we see Seb at the piano from her eyeline- lead each other around
Emma Coe Film Studies 