In the excerpts from Ideology and Ideological State Apparatuses, Louis Althusser aims to explain the reasons for why the cinematography has acquired its ideological nature in the first place. Although the scholar’s theories are applicable to multiple spheres of people’s activity excluding a film industry and seem way too old-fashioned, still, they promote one’s understanding of the issue discussed in the current research. In describing his concept of the State Apparatus, Louis Althusser argues that contains: “the Government, the Administration, the Army, the Police, the Courts, the Prisons, etc., which constitute what I shall be called the Repressive State Apparatus” (Althusser 1). According to the scholar, a repression is not always an application
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Indeed, in every culture or society and in any epoch of the history, the states’ leaders tended to make people share their visions of the social structure and politics. The scholar states that “no class can hold State power over a long period without at the same time exercising its hegemony over and in the State Ideological Apparatuses” (Althusser 3). These manifestations can be found in the history of the 20th century when the United States has been expanding over the Latin America, the Soviet Unions has been intervening in the neighboring regions to spread communism, and Nazi Germany has resorted to an application of the military force to impose anti-semitic ideologies on the conquered European nations. Their hegemonies spread over most spheres of activity including filmmaking. In the Soviet Union, it has been especially noticeable since rejecting to propagandize the socialist ideology in the cinema threatened with the punishment. In a case of the Soviet Union and the United States alike, it is hard to deprive of the influence of the ideological repression of the society. Establishing and developing throughout the ages, the values of the society and its perceptions of the surrounding reality have rooted deep in people’s mentality. Being affected by these impacts, the filmmaker also introduce …show more content…
Since the beginning of the 20th century, the film theorists have been actively involved in defining a term “cinema”. Most researchers narrowed down their focus on exploring purely technical foundations of the cinema and discussing the previous accomplishments of art of representing the surrounding reality (Polan 150). Relatively appropriate definition of the cinema has been first proposed by a 20th-century researcher Andre Bazin. Being a devoted Christian, Bazin was prone to consider that the cinema aims to develop religious values and principles of living in the audience. “Things in the world, he felt, embodied and radiated the Spirit of God, and so the art that could realistically give us lots of things in the world (and give them to us in a larger-than-life manner) was a spiritual art” (Polan 150). Overall, Bazin defined the cinema as an advanced photographic art that captures the reality in a much better way. The film theorist defended a position of enabling the viewer him/herself to decide on what objects are needed to be specially highlighted in the movie. These statements serve the foundation for his Realist Film Theory that defends the cinematography’s portraying social reality. This shift in the visions of the cinematography was a cross-cutting theme in the following decades among the film researchers. The point
Indeed, in every culture or society and in any epoch of the history, the states’ leaders tended to make people share their visions of the social structure and politics. The scholar states that “no class can hold State power over a long period without at the same time exercising its hegemony over and in the State Ideological Apparatuses” (Althusser 3). These manifestations can be found in the history of the 20th century when the United States has been expanding over the Latin America, the Soviet Unions has been intervening in the neighboring regions to spread communism, and Nazi Germany has resorted to an application of the military force to impose anti-semitic ideologies on the conquered European nations. Their hegemonies spread over most spheres of activity including filmmaking. In the Soviet Union, it has been especially noticeable since rejecting to propagandize the socialist ideology in the cinema threatened with the punishment. In a case of the Soviet Union and the United States alike, it is hard to deprive of the influence of the ideological repression of the society. Establishing and developing throughout the ages, the values of the society and its perceptions of the surrounding reality have rooted deep in people’s mentality. Being affected by these impacts, the filmmaker also introduce …show more content…
Since the beginning of the 20th century, the film theorists have been actively involved in defining a term “cinema”. Most researchers narrowed down their focus on exploring purely technical foundations of the cinema and discussing the previous accomplishments of art of representing the surrounding reality (Polan 150). Relatively appropriate definition of the cinema has been first proposed by a 20th-century researcher Andre Bazin. Being a devoted Christian, Bazin was prone to consider that the cinema aims to develop religious values and principles of living in the audience. “Things in the world, he felt, embodied and radiated the Spirit of God, and so the art that could realistically give us lots of things in the world (and give them to us in a larger-than-life manner) was a spiritual art” (Polan 150). Overall, Bazin defined the cinema as an advanced photographic art that captures the reality in a much better way. The film theorist defended a position of enabling the viewer him/herself to decide on what objects are needed to be specially highlighted in the movie. These statements serve the foundation for his Realist Film Theory that defends the cinematography’s portraying social reality. This shift in the visions of the cinematography was a cross-cutting theme in the following decades among the film researchers. The point