Political Awakenings in Cinema

Paper Summary:

This paper compares the 1926 film, "Mother" with "Erin Brockovich" and "Good Night and Good Luck", both from the turn of the century. According to the paper, the archetypal and purely visual images of acting like that of "Mother" can no longer be taken seriously in modern film acting. The paper goes on to say that never-the-less, the power of the film's images raises a profound question about the nature of modern filmmaking because the film should not move the viewer, and yet it does.

From the Paper:

"Both film's focuses are psychological in terms of how the acting renders the main character, unlike "Mother." Although it was also based upon a past historical event, "Mother" does not try to tell the mother's internal and unique story in relation to these events, it uses one mother's image to uphold its own political values. The mother comes to realize that she must bend to the forces of history, and support revolution, rather than change history. Her actions, like holding a flag in protest, are symbolic rather than personally gratifying. The acting, rather than personalized in both American films, is general, and depicted in broad, sweeping gestures rather than subtle shifts of dialogue, or changes in hairstyle or expression to indicate the character's growing political awareness."

Sample of Sources Used:

• "Erin Brockovich." Starring Julia Roberts. 2000.
• "Good Night and Good Luck." Directed by George Clooney. 2005.
• "Mother." Directed by Vsevolod Pudovkin. 1926.

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• Analytical Essay # 139828 : "Political Apathy in North America"
• Essay # 33668 : "Political Development in Korea"

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