The Power Of Mainstream Cinema

When discussing the power of mainstream cinema, this is observing what is referred to as Dominant Cinema, a system of certain characteristics that normally are portrayed in their films. Characteristics such as the utilisation of stars to attract an audience, using producers to allow films to have an extensive budget in which masses of special effects can be created in order to create a “spectacle” which aims to engage the audience and divert them for poor aspects of the film such as actor, cinematography and script, such as Pearl Harbour and Commando.

Pearl Harbour Trailer

Commando Trailer

Therefore two films will be assessed, one for the classic portrayal of Dominant Cinematic qualities and one for Counter Cinematic qualities (how the film goes against Dominant Cinema).



THE ROCK

The Rock is a classic example of Hollywood mainstream, attracting the audience with stars Sean Connery and Nicholas Cage and having powerful producer Jerry Bruckheimer pouring a large budget into the picture to create jaw-dropping action sequences to amaze the audience and draw away their attention of faults within the film such as character establishment, basic storyline and poor dialogue between characters.

Looking at the characteristics of Dominant cinema, this film ticks all the boxes. It uses the genre formula of being an action/adventure film, using highly recognised stars to attract the audience, is a mass production to attract a mass audience. The narrative is very straightforward, which doesn’t allow the audience to critically evaluate the film, character motivation/journey and how characters interact. The constant action hypnotises the audience to merely witnessing a spectacle of explosions, gun fighting and martial arts.

Brecht talks of creating an interaction with the audience, breaking down the fourth wall and not just be an observer. Well The Rock goes against this, we merely observe the action that is being presented before us, not fully engaging with the characters and their objectives throughout the film.

THE HOLE (2001)

The Hole can be seen as Counter Cinema as it goes against this idea of mainstream Hollywood. Being a lower budgeted film, it doesn’t aim to target a mass audience, rather aim to attract a specific audience. It doesn’t utilise the star system as the majority of the cast were unknown actors, aside from famed child actress Thora Birch. Set in one location and having a disrupted narrative makes the audience really engage with the film, critically evaluating the character’s journey and the story in which they are involved in.

Looking at this from a feminist perspective as the main protagonist is female, Liz (played by Thora Birch) and her role within the film is far from the perceived “male gaze” that seems to be the established cinematic stereotype within Hollywood mainstream films. Mulvey says that Hollywood cinema “depends on the image of the castrated woman to give order and meaning to its world” (Narine 2010).

As Liz is indeed in control of the situation, she is therefore empowered as opposed to her male counterparts who are theoretically at Liz’s mercy. This goes against the traditional archetype that the man is in control and the women is objectified and often seen to be helpless and fragile, as best portrayed by Frankie (played by Keira Kinghtley), instead she shows independence and the audience relate to her character.

REFERENCES:

• NARINE, N., 2010. Global Trauma and Narrative Cinema Theory, Culture & Society, 27(4), pp. 121-122.
• ARROYO, J., ed., 2000. Action/Spectacle Cinema: A Sight and Sound Reader. revised ed. London: British Film Institute

Women's Cinema: The Contested Screen