Ideology in Film

Ideology is the set of ideas that direct one's thoughts, goals, and actions. Implicit ideology, in terms of its use in film, refers to that which is under the surface. Implicit values require deeper analysis and foster increased thought. Explicit values are above the surface. Such ideology is openly declared by the filmmakers or within the film.

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One actor who presents a predictable ideological package is Harrison Ford. Earlier in his career, Ford typically played a rebellious hotshot; a pretty boy with a smart mouth, but who is overall an okay guy. Such examples of this include the arrogant street racer Bob Falfa in American Graffiti (1973); Han Solo, the intergalactic smuggler turned Rebellion leader in the Star Wars original trilogy (1977, 1980, 1983); and college professor/archaeologist/adventurer Indiana Jones in the namesake franchise (1981, 1984, 1989, 2008).  As his career progressed, he became known more as an older man caught in a situation requiring action, such as retired blade runner and possible replicant Rick Decker in Blade Runner (1982); ex-CIA agent Jack Ryan in Patriot Games (1992); and scientist Dr. Norman Spencer in What Lies Beneath (2000). The five most fitting adjectives for the roles that Ford plays are bold, sarcastic, charismatic, impulsive, and slightly childish. In his next role, due to his age, I anticipate that he will be a grizzled old veteran in an action movie, possibly co-starring a "young newcomer" archetype as his sidekick or partner.

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One of my favorite films is at left: Paul Verhoeven's Starship Troopers (1997). I like most of the characters to a degree; at the very least, I feel sympathetic to most of them. My favorite character is Dizzy Flores, friend and comrade of main protagonist Johnny Rico. What I like about Dizzy is her character arc and the great metamorphosis she undergoes throughout the film. In the beginning, when the characters are still in school, Dizzy is characterized by her unrequited love for Johnny. As the film develops, the characters enlist in the military and Dizzy eventually becomes a valued partner, Johnny's significant other, and finally dies a martyr. The filmmakers encourage such sentiments mostly through her evolving relationship with Johnny. The values promoted through Dizzy are those of love, peace, and open-mindedness, as the most emotionally significant moments concerning Dizzy relate to these: her and Johnny's falling in love and her death in battle. In order to emphasize the viewpoints he wished for us to come to, Verhoeven gradually moves shots of Dizzy from emotionally nondescript medium shots to more expressive, high key close-ups with that make Dizzy appear more attractive and desirable. Additionally, the editing reveals her counterparts' reactions to her actions; the audience sympathizes with the emotions displayed.

Filmmakers prefer that the audience see from one viewpoint because that viewpoint is the ideology that he or she was influenced by during the making of the film. Obviously, one would not prefer that the audience to one's product views it from a perspective different or even contrasting to one's own.

Unfortunately, attempting to predict that which one's audience and financier(s) will approve or disapprove of  has dire repercussions (if they are incorrect, that is). If their assumptions are wrong, their film will not be well received at all. Its message may even be considered controversial and lead to the film being banned.

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A certain era's ideologies can change the presentation of a narrative to its audience simply because of changing ideologies. Factors such as economy, politics, and general society can all alter differing audiences' perceptions of not just film, but nearly any medium. For example, Stanley Kubrick's Dr. Strangelove (1964) is heavily influenced by the threat of nuclear attack during the Cold War. While at the time, tensions between the U.S. and U.S.S.R. led to the constant fear of such a war, today's society exists with a much less notable threat. Thus, while the audience of 1964 viewed Dr. Strangelove as a brilliant satire of the fears of the era, a  viewer today might potentially perceive the film as irrelevant and thus unsatisfactory. 

Films can affect one's behavior without one being conscious of it. For example, if one were to watch a film in which a character is robbed and murdered on a street corner, the viewer would attempt to be more aware of their environments without accepting or realizing that it was because of their viewing the film. Or, relating to the next paragraph, if a film portrayed birds attacking humans, a viewer would likely become more suspicious or fearful of any they may see.

Suspension of disbelief is when one willingly accepts the improbable or impossible for the sake of the film. This is achieved by the filmmaker giving the viewer reason to do so, such as implementing elements of truth within the fantastic or non-realistic. An example of this is in Alfred Hitchcock's The Birds (1963). The avian residents of Bodega Bay, for reasons unexplained or unquestioned, begin attacking the town's human residents. This film calls for suspension of disbelief due to the improbability of birds electing to, out of nowhere (as far as we know), declare war against humanity.

Finally, another potential influence to the ideologies represented in a film are its financiers. Were a filmmaker to express a desire to portray an ideology contrary to the ideology/ies of his or her financial aid, said aid would most likely pull out of the project. If a filmmaker were asked by his financial support to display an ideology he or she disagreed with, it would cause a problem with its production.