作业代写：The ideology of Hollywood cinema

下面为大家整理一篇优秀的essay代写范文- The ideology of Hollywood cinema，供大家参考学习，这篇论文讨论了好莱坞电影的意识形态。好莱坞的灾难大片作为一种类型片，以影像语言传达了电影人对人类历史变迁与社会发展的关切，不仅具有其独特的文化内涵，而且输出了大量美国式的意识形态。意识形态在电影中所传输的模式更加隐秘而无形，这些无形的深层次的意识潜移默化地渗透到观众的思维与行为方式上，使美国所宣扬的文化形态与观念在世界范围内达成了共识。

As a type of film, Hollywood disaster movies convey filmmakers' concerns about human historical changes and social development with image language. They not only have their unique cultural connotation, but also export a large number of American ideologies. Compared with the stimulation of senses and the shock of the soul, the mode of ideology transmitted in the film is more hidden and invisible. The deep-seated consciousness of these intangibles imperceptibly permeates the thinking and behavior of the audience, making the cultural form and concept advocated by the United States reach a consensus in the world. Based on the devastating disaster of the earth, 2012 depicts the scenes when human beings encounter destruction with vivid and vivid images, building up a kind of individual heroism under the glory of human nature.

"2012" is a master of disaster film Roland emmerich grandly launched after "the day after tomorrow" is a masterpiece of the screen. The 2009 Hollywood science fiction disaster movie, with ecological disaster as its main object, describes the response of human groups in the face of the destruction of the earth, and shows the apocalyptic doomsday world as well as human life concepts and values. The director captured the audience's attention with stunning special effects and spectacular disaster scenes, and remade the lofty self-centered image of America. The film is not only a time publicity of national spirit, but also a global penetration of the American centralism national ideology.

Althusser pointed out in "ideology and ideological state machine" that "the ruling ideology is realized in the ideological state machine by the ruling class". Obviously, as a new art style, the film has also taken on the responsibility of spreading national ideology while becoming an ideological state machine. In the contemporary film industry, the "dream factory" represented by Hollywood not only creates spectacular images for audiences, but also exports a large number of ideologies contained in American society with the help of the film. For example, in the film, when human beings are facing an existential crisis, the United States always appears at the most appropriate time and saves human beings in the most appropriate way, playing the role of a leader leading the global people out of the disaster. Obviously, the director in shaping the image of other countries in the eyes of the United States highlighted the self-centered image of the United States, a lofty image that no one can replace. Just like the beginning of the film, the director focuses his lens on five different countries: India, the United States, Britain, China and France, which not only creates a tense and suffocating atmosphere for the audience, but also implies the ideological discourse in the work. The first scene: a local scientist in South Asia, India, works in high temperatures in a humble, dark underground chamber, and after years of research, discovers the global geological anomaly. The highly developed technology of India in the film makes Americans admire it, but a set of scenes reflecting the poverty, disorder and dirty living conditions of India has left the mark of colony. The hard-working Indian scientist is nothing but the cheap labor of black American scientists. Scene two: the camera is on developed America. At a dinner to raise money for charity, a black American scientist presents a national geological crisis report to the prime minister. While creating the atmosphere of death, the film also reflects the superiority of the American nation, sets up the brilliant image of black scientists, and advocates the national individual heroism. The third scene: the camera focuses on Western Europe and Britain, where angry people take part in various demonstrations against the economic crisis. The director contrasted the dancing America with the turbulent Britain. He not only satirized the declining old capitalist country, but also fully affirmed America's position of world hegemony. Scene 4: the camera focuses on China in east Asia, and the Chinese army gathers its personnel in Tibet to build the dam. The film shows the supreme authority of the people's army, reveals the backwardness and conservatism of Chinese society, the ignorance and blind obedience of Chinese people, and brings the United States, which emphasizes human rights and democracy, to the height of The Times again. Scene five: back in Europe, a group of museum staff is preparing to remove the Mona Lisa. The director's difficulty in moving the portrait implies the turmoil of international times, calling for peace and the advent of human messengers in the atmosphere of death. Obviously, the director highly praised the supremacy of the United States, believing that India, which first discovered the earth's geological anomalies, Russia and Arabia, which undertook the huge costs of the ark's construction, and China, which took over the huge production project, were no more than American assistants. Because it's young scientists in the United States who propose plans and directly influence world decisions and determine the future of humanity. And America, acting as the world's policeman, is the real defence organiser of the disaster.

Existentialist philosophy holds that heroism is, first and always, a reaction to the fear of death. Therefore, when people see a character who dares to face death or saves others from the claws of death by personal power, they will be moved by the character's courage to face death, and will be humbled by the character's sacrifice to save his own life, marking the character as a hero. The university of California sociologist Robert Mr Lage think "individualism is the real core of American culture". When people are eager to find the so-called individualism in the hot land of America, a "individual heroism" with typical American political background takes root here, permeates into various fields such as American ideology and culture, and carries forward with the help of "seventh art" -- film. Hollywood in the United States has always portrayed the hero as an all-knowing, omnipotent, dual sense of mission and a pro-people hero who is not afraid of death for justice, so that the audience through the screen heroes can be opposite to the surrounding characters, and see their own shadow in such heroes. In a word, "individual heroism" has become one of the essence and soul of Hollywood movies in America. It not only makes people's fantasy closer to reality, but also realizes the display of self-consciousness and self-value. In 2012, humanized heroes are portrayed everywhere, from the elderly to the young children. The film's hero, Jackson, is portrayed by the director as an ordinary American citizen, but he has a keen mind and scientific judgment. He was proud and aloof, and his wife and children left him because of his concentration on writing books. But it was this unknown writer who emerged from the disaster with unprecedented energy and became a national hero. In the face of this global natural disaster he did not fear, but through tenacious perseverance overcome all kinds of hardships to lead his loved ones boarded the ark, saved the human race. The director's heroism is highlighted in the film, especially when ark 4 breaks down and the unknown author risks his life to fix it and help the ark out of danger. He saved the lives of many people, injured repair workers for him to give a thumbs-up, the ship all people hailed heroes. In addition, while shaping the glorious image of the black President of the United States, the director also delivered a clear theme of "only America is the savior of mankind". In the wake of the disaster, the President of the United States gave up the opportunity to board a ship and escape. He chose to wait with his sons for the end of the doomsday, leaving the line: "a young scientist is better than 20 old politicians." However, at the same time, the black President of the United States firmly controls the power of discourse at the top of decision-making power. Every speech and standing up contains an unshakable image of authority, which also means the deterrent power and leadership of the United States to other countries.

Althusser believed that ideology is a way to "recruit" subjects or transform individuals into "subjects" and use very accurate operations to "produce results" or "function". This is what he calls a call or a call, and this call or a call is what some scholars refer to as a natural call. In 2012, Jackson is portrayed by the director as an unknown little writer, a marginal figure who is not recognized by his wife and children, nor recognized by society. The audience was initially skeptical of the director's arrangement and could only view the character from an outsider's perspective. However, with the plot going deeper and deeper, the director reassured the audience and relieved the psychological defense of the audience by improving the image of the social little man. The courage and tenacity shown by the characters in the face of the crisis, and the ultimate escape from danger, not only arouse the audience's sympathy for the characters, but also deepen the audience's subconscious trust and recognition of the characters. Thus, the audience perceives the commonality between themselves and the characters through the characters, and changes from a spectator to the subject who is subservient to the ideology in the film: everyone longs to be the hero like the hero in the film, and the hero who saves the people from the fire is the audience himself. Obviously, the film's ideology not only enables the audience to accept the construction of the subject subconsciously, but also believes that as long as the director also endows the audience with the same thoughts, behaviors and various norms as the hero in the film, they will also become heroes recognized by the public, society and family. In a word, the director hides the connotation of national ideology in this "the most disastrous disaster film" which has never been seen before. While giving audiences audio-visual impact with exquisite photography and perfect special effects, he also explores the individual heroism advocated by American Hollywood with thick ink. This kind of hollywood-style inquiry subject not only makes the audience involuntarily yield to the subject's warning, but also becomes the best way to capture people's hearts and earn box office.

The author believes that the analysis of films by means of film ideological criticism can provide us with a critical attitude towards cultural goods, a non-utilitarian attitude towards truth, and a countercultural commercialism attitude towards spiritual value and life meaning instead of pursuing market function. In the 21st century, Hollywood blockbusters in the United States are trying to instill American ideology into every film while they are constantly exporting mass commercial films. These invisible and hidden ideologies have imperceptibly penetrated the audience's way of thinking and behavior, which not only laid the foundation for the worldwide consensus of the concepts and cultural spirit advocated by the United States, but also paved the way for the commercial expansion of Hollywood globalization.

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